Deadness: Technologies of the Intermundane

Author:

Stanyek Jason1,Piekut Benjamin2

Affiliation:

1. Jason Stanyek is Assistant Professor in the Department of Music at New York University and was recently a Visiting Associate Professor at Harvard University and an External Faculty Fellow at the Stanford Humanities Center. He has published on subjects ranging from Brazilian hip-hop to Pan-African jazz, from intercultural free improvisation to capoeira, and is at work on three book projects: an ethnographic monograph on Brazilian performance in the US; a coauthored book (with Benjamin Piekut) on...

2. Benjamin Piekut is Lecturer in Music at the University of Southampton, England. He teaches units in pop, jazz, and cultural studies, and is preparing a book on experimental music in New York during the 1960s. He wrote a chapter on composer/activist Henry Flynt for the collection Sound Commitments (Oxford University Press, 2009), and is the author of two articles on the Jazz Composers Guild, forthcoming in Jazz Perspectives and American Quarterly.

Abstract

Posthumous duets—performances involving a dead singer and a living one—have become ubiquitous in popular music. As the case of Natalie and Nat “King” Cole's “Unforgettable” makes clear, all sound recording harnesses the productive capacities of both living and dead, patterned through specific forms of co-laboring, or “deadness.”

Publisher

MIT Press - Journals

Subject

Literature and Literary Theory,Visual Arts and Performing Arts

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