Pub Date : 2022-09-05DOI: 10.1080/20551940.2022.2120258
Charlotte Eubanks
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Pub Date : 2022-09-04DOI: 10.1080/20551940.2022.2112387
Mickey Vallee
ABSTRACT This paper uses a collaborate sound and web design project as a beginning point for theorising sound recording and the problem of time. Inspired by the home soundscapes of COVID-19 lockdowns, the project asked volunteer recordists to record themselves preparing tea. The purpose of the project was to engage with a ritual in a way that elucidated its duration, as a means of resisting the quantification of time that dominated much of what life and bodies did during the earlier months of the pandemic. While the article does address the design and implementation of the project, it rests more on the problem of time that sound recording addresses, as a temporal, durational, relational, and communicative process.
{"title":"Grid of nows: sound recording and the problem of time","authors":"Mickey Vallee","doi":"10.1080/20551940.2022.2112387","DOIUrl":"https://doi.org/10.1080/20551940.2022.2112387","url":null,"abstract":"ABSTRACT This paper uses a collaborate sound and web design project as a beginning point for theorising sound recording and the problem of time. Inspired by the home soundscapes of COVID-19 lockdowns, the project asked volunteer recordists to record themselves preparing tea. The purpose of the project was to engage with a ritual in a way that elucidated its duration, as a means of resisting the quantification of time that dominated much of what life and bodies did during the earlier months of the pandemic. While the article does address the design and implementation of the project, it rests more on the problem of time that sound recording addresses, as a temporal, durational, relational, and communicative process.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"19 1","pages":"85 - 103"},"PeriodicalIF":0.5,"publicationDate":"2022-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85108382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-04DOI: 10.1080/20551940.2022.2106625
I. Blake
Chris Batterman Cháirez is an ethnographer and anthropologist of music. His research broadly considers Indigenous music and environmental precarity, and his dissertation tracks the ways in which structures of coloniality and liberalism are sensed and made material in bodily practices, more-than-human landscapes, and ecologies of sound on/around Lake Pátzcuaro, Mexico. He is currently a Ph.D. candidate and Neubauer Fellow in ethnomusicology at the University of Chicago.
{"title":"Listening to Black women’s sonic labor","authors":"I. Blake","doi":"10.1080/20551940.2022.2106625","DOIUrl":"https://doi.org/10.1080/20551940.2022.2106625","url":null,"abstract":"Chris Batterman Cháirez is an ethnographer and anthropologist of music. His research broadly considers Indigenous music and environmental precarity, and his dissertation tracks the ways in which structures of coloniality and liberalism are sensed and made material in bodily practices, more-than-human landscapes, and ecologies of sound on/around Lake Pátzcuaro, Mexico. He is currently a Ph.D. candidate and Neubauer Fellow in ethnomusicology at the University of Chicago.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"30 1","pages":"122 - 125"},"PeriodicalIF":0.5,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78308910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-28DOI: 10.1080/20551940.2022.2104998
Jared Asser
Bellenger, X. 2015. El espacio musical andino: Modo ritualizado de la producción musical en la Isla de Taquile y en la región del Lago Titicaca. Lima: Institut français d’études andines. Bigenho, Michelle, and Henry Stobart. 2018. “Grasping Cacophony in Bolivian Heritage Otherwise.” Anthropological Quarterly 91 (4): 1329–1363. doi:10.1353/anq.2018.0067. Brabec de Mori, B., and A. Seeger. 2013. “Introduction: Considering Music, Humans, and Non-Humans.” Ethnomusicology Forum 22 (3): 269–286. doi:10.1080/17411912.2013.844527. Lewy, Matthias. 2017. “About Indigenous Perspectivism, Indigenous Sonorism and the Audible Stance: Approach to a Symmetrical Auditory Anthropology.” El oído pensante 5 (2). Accessed 19 December 2022. http://ppct. caicyt.gov.ar/index.php/oidopensante
{"title":"The Lomax archive: from signal to noise","authors":"Jared Asser","doi":"10.1080/20551940.2022.2104998","DOIUrl":"https://doi.org/10.1080/20551940.2022.2104998","url":null,"abstract":"Bellenger, X. 2015. El espacio musical andino: Modo ritualizado de la producción musical en la Isla de Taquile y en la región del Lago Titicaca. Lima: Institut français d’études andines. Bigenho, Michelle, and Henry Stobart. 2018. “Grasping Cacophony in Bolivian Heritage Otherwise.” Anthropological Quarterly 91 (4): 1329–1363. doi:10.1353/anq.2018.0067. Brabec de Mori, B., and A. Seeger. 2013. “Introduction: Considering Music, Humans, and Non-Humans.” Ethnomusicology Forum 22 (3): 269–286. doi:10.1080/17411912.2013.844527. Lewy, Matthias. 2017. “About Indigenous Perspectivism, Indigenous Sonorism and the Audible Stance: Approach to a Symmetrical Auditory Anthropology.” El oído pensante 5 (2). Accessed 19 December 2022. http://ppct. caicyt.gov.ar/index.php/oidopensante","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"47 1","pages":"116 - 119"},"PeriodicalIF":0.5,"publicationDate":"2022-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82667110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/20551940.2022.2107347
M. Horrigan
ABSTRACT Interruption is a simple, recognisable, and affectively charged phenomenon. Interruption also has complex, patterned implications. In the aftermath of ethnographic investigations into music’s uses for violence, this essay seeks general principles according to which interruption does help and harm. An account of sonic normativity results, based on the principle that sound is difficult to escape. While epistemically useful, susceptibility to sound is also a vulnerability that social frames variously exploit – or protect by cultivating resilience. “Sonic interruptivity” – the propensity of sound to interrupt – gives dramatic import to styles of performing, recording, and audiencing, and provides a point of interdisciplinary convergence around which schools of thought from theatre performance praxis, culture critique, music theory, and soundscape ecology possess shared insight. Anticipating crises of interruption with rituals of interruption, performing extremes of immunity to interruption, or dominating discourses, invading niches, and projecting styles through frequent interruption, creative practitioners engage interruption as a widely understood communicative device whose very insensitivity constitutes part of its meaning. If this essay takes a normative stance, it is that students of sound should not neglect sonic interruptivity – from subtle elision to aggressive blare, the very uncouthness of interruption signals the attention it deserves.
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Pub Date : 2022-07-03DOI: 10.1080/20551940.2022.2095763
Sarah Politz
ABSTRACT The recent emergence of the subfield of ecomusicology has raised provocative questions about theory and method in music studies, as well as relationships between sound, humans, and the environment. This paper responds to these questions through an examination of two albums by the Beninese guitarist Lionel Loueke, informed by ethnographic interviews with Loueke and fieldwork in Benin and the U.S. Each of the two albums deals with a distinct set of musical materials and strategies to convey their respective ecological orientations. The album Virgin Forest does this through creating ambient atmospheres that blur the lines between human and animal sound, while the second album, Gaïa, deploys guitar distortion and “out-of-joint” grooves to channel an angry earth goddess. This analysis explores connections between the albums and concepts of sacred sound and interdependence in the Nichiren Buddhist practice that Loueke has adopted, and in vodun ancestral practices in Benin. I propose a concept of relational listening, building on Edouard Glissant’s la Relation and Steven Feld’s acoustemology, which embraces humans’ interdependence with the environment while respecting the radical alterity of other beings, including human, non-human, and more-than-human. Loueke’s music suggests that this relational listening necessarily leads to relational sounding: interactive improvisation.
{"title":"Virgin Forest and the “Intrusion” of Gaïa: ecomusicological questions, relational listening, and the music of Lionel Loueke of Benin","authors":"Sarah Politz","doi":"10.1080/20551940.2022.2095763","DOIUrl":"https://doi.org/10.1080/20551940.2022.2095763","url":null,"abstract":"ABSTRACT The recent emergence of the subfield of ecomusicology has raised provocative questions about theory and method in music studies, as well as relationships between sound, humans, and the environment. This paper responds to these questions through an examination of two albums by the Beninese guitarist Lionel Loueke, informed by ethnographic interviews with Loueke and fieldwork in Benin and the U.S. Each of the two albums deals with a distinct set of musical materials and strategies to convey their respective ecological orientations. The album Virgin Forest does this through creating ambient atmospheres that blur the lines between human and animal sound, while the second album, Gaïa, deploys guitar distortion and “out-of-joint” grooves to channel an angry earth goddess. This analysis explores connections between the albums and concepts of sacred sound and interdependence in the Nichiren Buddhist practice that Loueke has adopted, and in vodun ancestral practices in Benin. I propose a concept of relational listening, building on Edouard Glissant’s la Relation and Steven Feld’s acoustemology, which embraces humans’ interdependence with the environment while respecting the radical alterity of other beings, including human, non-human, and more-than-human. Loueke’s music suggests that this relational listening necessarily leads to relational sounding: interactive improvisation.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"1 1","pages":"196 - 218"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87946789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/20551940.2022.2105023
Whitney Johnson
ABSTRACT As sound practices continue to evolve in the gallery arts, conceptual texts create value for audiences who have been trained to see but who are still learning to listen. Based on 105 semi-structured interviews and four years of ethnographic observation, this paper finds that, contrary to the reliance on hearing in music or vision in the other gallery arts, gallery sound has had to rely, paradoxically, on reading audiences. After a look at models of cultural-economic valuation, this study finds that sound artists tend to rely on written language to value their works, and these textual value devices appear on a variety of interfaces. Artist statements are communicated through online platforms, handouts, didactic panels, and grant applications as instances of economic agencement – rendering the aesthetic economic – for works that otherwise might be mistaken for music or visual art. Respondents explained this reliance on text in terms of art world isomorphism, as a response to technical maladaptation, and as a tool for sensory learning. The resulting hierarchies of aesthetic value have implications for the relationship between sensory perception and conceptual understanding throughout the gallery arts and beyond.
{"title":"Reading sound: textual value devices in gallery sound","authors":"Whitney Johnson","doi":"10.1080/20551940.2022.2105023","DOIUrl":"https://doi.org/10.1080/20551940.2022.2105023","url":null,"abstract":"ABSTRACT As sound practices continue to evolve in the gallery arts, conceptual texts create value for audiences who have been trained to see but who are still learning to listen. Based on 105 semi-structured interviews and four years of ethnographic observation, this paper finds that, contrary to the reliance on hearing in music or vision in the other gallery arts, gallery sound has had to rely, paradoxically, on reading audiences. After a look at models of cultural-economic valuation, this study finds that sound artists tend to rely on written language to value their works, and these textual value devices appear on a variety of interfaces. Artist statements are communicated through online platforms, handouts, didactic panels, and grant applications as instances of economic agencement – rendering the aesthetic economic – for works that otherwise might be mistaken for music or visual art. Respondents explained this reliance on text in terms of art world isomorphism, as a response to technical maladaptation, and as a tool for sensory learning. The resulting hierarchies of aesthetic value have implications for the relationship between sensory perception and conceptual understanding throughout the gallery arts and beyond.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"118 1","pages":"163 - 180"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81304915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-13DOI: 10.1080/20551940.2022.2084846
Arzu Karaduman
ABSTRACT To Sleep to Dream is an EarFilm, that is an audio-only film that combines live narration and an advanced 3D sound system and relies on a half-dome-shaped arrangement of over twenty speakers that surround the blindfolded audience members who sit in the middle of a darkened room. In this paper, I analyse how the mental visual imagery that audiences form during their experience of an EarFilm involves a complete sensory immersion and erases the spatial boundaries of the cinematic apparatus that has been theorised since the 1970s. As one of the contemporary apparatuses, an EarFilm demands that we revise our terminology to address the spatial dispositif in relation to new technologies of ambisonics. In the specific example of an EarFilm, darkness-turned-all-immersive spectacle is an avisual depth of personally-created visual and yet invisible spaces. Utilising Akira Lippit’s concept of “avisuality”, I explain how EarFilms epitomise cinematic visuality by generating personal spatial abysses in total darkness filled with sounds. Earfilms problematise the Western tradition of a hierarchy of the senses and offer a more inclusive art form that both people with and without visual impairments can enjoy.
{"title":"Seeing a film in blindfolds: cinema experience with EarFilms","authors":"Arzu Karaduman","doi":"10.1080/20551940.2022.2084846","DOIUrl":"https://doi.org/10.1080/20551940.2022.2084846","url":null,"abstract":"ABSTRACT To Sleep to Dream is an EarFilm, that is an audio-only film that combines live narration and an advanced 3D sound system and relies on a half-dome-shaped arrangement of over twenty speakers that surround the blindfolded audience members who sit in the middle of a darkened room. In this paper, I analyse how the mental visual imagery that audiences form during their experience of an EarFilm involves a complete sensory immersion and erases the spatial boundaries of the cinematic apparatus that has been theorised since the 1970s. As one of the contemporary apparatuses, an EarFilm demands that we revise our terminology to address the spatial dispositif in relation to new technologies of ambisonics. In the specific example of an EarFilm, darkness-turned-all-immersive spectacle is an avisual depth of personally-created visual and yet invisible spaces. Utilising Akira Lippit’s concept of “avisuality”, I explain how EarFilms epitomise cinematic visuality by generating personal spatial abysses in total darkness filled with sounds. Earfilms problematise the Western tradition of a hierarchy of the senses and offer a more inclusive art form that both people with and without visual impairments can enjoy.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"66 1","pages":"149 - 162"},"PeriodicalIF":0.5,"publicationDate":"2022-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84620829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-31DOI: 10.1080/20551940.2022.2062564
Tanja Tiekso, Karoliina Lummaa
ABSTRACT For centuries, seeing has dominated other senses in Western thought. To a certain extent, this has also been the case in animal philosophy. In this article, animal otherness is examined through listening. We explore otherness in animals that share urban environments and utilise material surplus discarded by humans: gulls. Our fieldwork takes place at Ämmässuo, a waste treatment centre located in Espoo, Southern Finland. The method of listening is Deep Listening, a composer’s sound practice developed by American composer Pauline Oliveros. In Deep Listening, listeners are connected with their environment and all its inhabitants through listening. What is heard is always changed by listening, and in turn, listening changes the listener. The article utilises the concept of sonosphere also created by Oliveros, as well as the concept of atmosphere as it has been described by Andrew Whitehouse. It proposes a method of listening-with gulls which acknowledges the diverse differences and similarities between species while also taking into account the agencies of infrastructures and machines affecting both human and nonhuman lives.
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Can sound be perceived independently of its social dimension? Or is it always embedded in a discursive network? »Postcolonial Repercussions« explores these questions in form of a collective conversation. The contributors have collected sound stories and sound knowledge from Brazil to Morocco, listened to resonances from the Underground and the Pacific Ocean, from Popular Music and speech recognition. The anthology gathers heterogeneous approaches to emancipatory forms of ontological listening as well as pleas for critical fabulation and a practice of care. It tells us about opportunities, perspectives and the (im)possibility of decolonised listening.
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