Search Results for ways of listening

... listening sound studies modes of listening ways of listening ...

... of the consequences of these approaches for the framing of listeners and listening practices. “Mode” has become a popular term for the designation of particular types or ways of listening in sound studies. Drawing on ethnographic research conducted in a modern British hospital, the entry draws attention to some...

... This chapter returns to Uzor’s Bodycam Exhibit 3 to uncover what emerges in this piece when thinking and listening in this transformed way, as the previous chapters have proposed. Bodycam Exhibit 3 problematizes the structure of the archive, sovereignty, and narrativization through its...

... of the archive becomes uncovered, a shift in how we practice identification and listen to individuals or society. The author also thematizes language directly by way of the figure of the foreigner in German language, in the form of Usländerdütsch (foreigner-German), as the changing of language through lives...

... Chapter 1 is an ethnography of listening at Cetacea Lab, a whale research station where conservation actors listen for humpback whales to produce scientific evidence to oppose development. The chapter considers how institutions shape ways of listening—including through a “late style” listening...

... The Philadelphia Negro . His shift in listening can be heard as what he later theorized in an unpublished essay, “Sociology Hesitant.” Both Du Bois and Jolo ask people to listen anew to the world and to ask questions about what we might be erasing in our listening. Lastly, they propose new ways of listening...

..., the ways in which sound occupies space, and the shaping of sounds for and by the listener through language and subjectivity, which complicates any attempt to grasp sounds as objective givens. It also returns to R. Murray Schafer’s seminal notions of “soundscapes,” “keynotes,” and “soundmarks,” to consider...

... This entry presents a genealogy of “acoustemology,” a 1992 coinage by the author to conjoin “acoustics” and “epistemology” and theorize sound as a way of knowing. The genealogy is traced theoretically as well as ethnographically. In terms of lineages of philosophy and social theory...

... and listening. This chapter denaturalizes sign- and discourse-based analyses of sound, proposing in their place a material, sensory-based analysis that assumes sound to be the result of an action rather than the action itself. In this way, this chapter questions the position and origin of the definition...

... Swiss-based DJ and sound artist Maïté Chénière’s work Sonic S.cape breaks the individual listener up by requiring us to listen with not only our ears but also our eyes and our whole body. Created for the dance floor and combining sound as well as video, the piece unfurls an Afrofuturist outer...

... opens and revisits a series of questions regarding how and why we study Black lives, laying the groundwork for the particular way in which the global and the provincial interact in the theorizing of Black Switzerland. unspeakable unthinkable Afro-German listening Black Switzerland ...

... This chapter examines some of the ways in which sound unfolds in time, from the fundamental nature of sound as a perishable, passing event to the present perfect of sounds as memory traces and the ways in which technologies of recording or “fixation” have changed our relationship to sonic...

... The introduction presents the methodology of the book, which centers on psychoanalytic approaches to voice as part object and listening as distracted or wavering. This translates into a study that is not musicological or biographical but oriented, rather, to the Lacanian future perfect...

... complicate our understanding of voice. Close listening and translation allow readers to listen in on moments of knowledge production in German POW and civilian camps. In Fragment II, Jámafáda from Burkina Faso speaks in Mòoré of his experience of being conscripted into the French army and of losing his...

..., and with an industrial history of synthetic substitutes. It also provides a lineage of ideas and instruments that preceded commercially available analog synthesizers, along with examples of the ways inventors, musicians, and listeners have negotiated cultural understandings of synthesis and synthetics in their designs...

... ridden in multiple ways. The chapter frames the analysis of the colonial-period roundtable format in terms of a postcolonial “overhearing,” in which the reader is really at once insider, listening to the conversation, and outsider, distant in both space and time from the roundtable performance itself...

... about Nina Simone can never be known perfectly, and can never quite be known in the way she knew them, because we’re the ones trying to do the knowing, because our ways of knowing are ineluctably partial, and because ethical listening requires that we make room for some amount of opacity. We can treat...

... to time, the ways in which sound occupies space, and the shaping of sounds for and by the listener through language and subjectivity, which complicates any attempt to grasp sounds as objective givens. It also returns to R. Murray Schafer’s seminal notions of “soundscapes,” “keynotes,” and “soundmarks...

...Listening, Expressing This chapter considers two of the key concepts of the seminal sound theorist Pierre Schaeffer: reduced listening and the sound object. The former indicates an effort to listen without attending to the context or causes of what is heard. Its correlate is the sound object...

..., memory, representation, and time. Looking at how Black girls deploy Black girl autopoetics in their digital practices offers insight into ways of creating alternative spaces, narratives, and temporalities in the face of white supremacist attempts at Black erasure. The conclusion urges us to listen...