{"title":"A Social Sonic Paradigm","authors":"Tegan Bristow, João Orecchia Zúñiga","doi":"10.1093/oxfordhb/9780190274054.013.33","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.33","url":null,"abstract":"This chapter presents an examination of why—in contemporary Africa, with Southern Africa as the primary focus—there are very few artists working with sound in a manner that fits the paradigm of sound art as it is known in Euro-America. Emphasis is not placed on a lack of intellectual engagement, which is significant in the Euro-American definition of sound art. What is presented does not aim to deviate from this, but rather acts to affirm an engagement with alternative forms of knowledge and mechanisms of sound found in the South. Three areas are explored; these however are interlinked and do not stand alone. The first is an understanding of the practice of interdisciplinarity as political engagement. The second explores the role of community and communal interaction with sound and how this is fundamental to form in the region. The third extends this by showing how the histories of knowledge and power are fundamental to these explorations in the region, emphasizing how contemporary explorations of sound are used to both contain and shift these histories. The chapter takes shape with the use of case studies and draws on interviews conducted by the authors.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131118320","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}
{"title":"Last breath, Sensing Life","authors":"Z. Bulut, Jane Grant, John Matthias, David Prior","doi":"10.1093/oxfordhb/9780190274054.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.27","url":null,"abstract":"Drawing on electronic artist Rafael Lozano-Hemmer’s installation Last Breath (2012), this chapter explores the sonic sensibility of life. It discusses (un)knowing and (dis)locating a body through sound, sensing the plasticity of life through assembled breath and voice, and the urge for insisting on life. The chapter looks at (1) Lozano-Hemmer’s aesthetics and related works, (2) conceptions of life as informed by nineteenth-century German Romanticism and twentieth-century continental and materialist philosophies, (3) preservation and mobility of sound via sound recording technologies, (4) voice as a biometric portrait, and (5) the capacity of inanimate things for expression.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129644283","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}
{"title":"Inhabiting the Uninhabitable: Encountering Atmospheres as Other Worlds","authors":"Jane Grant","doi":"10.1093/oxfordhb/9780190274054.013.31","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.31","url":null,"abstract":"In this chapter I discuss a series of site-specific sound art works which are designed to act on our sensory system prior to our intellect. These artworks are created from my fascination with natural phenomena and systems coupled with contemporary and historical scientific ideas and discoveries. The artworks are immersive in that the participant enters into the atmosphere and ‘other worldliness’ of the work. These phenomena include the firing patterns of artificial neurons, the multiverse and the ionosphere; the meeting place between the sun and the earth. In this chapter, I draw on Juhanni Pallasmaa’s writing on sensing and perception where evoking multimodal or cross modal cues are a strategy to create atmospheres where artworks are felt rather than thought.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131769940","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}
{"title":"Against a Falling Fabric","authors":"Seth Kim-Cohen","doi":"10.1093/oxfordhb/9780190274054.013.21","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.21","url":null,"abstract":"This chapter calls into question the celebratory use of certain adjectives typically applied to sound: ephemeral, immersive, remote, ineffable. Instead, these descriptions are attached to their less celebratory applications in the workings of neoliberalism: in contemporary warfare, the ubiquity of debt, and the unfettered movement of capital (but not peoples) known as ‘globalism’. We might refer to these qualities of neoliberalism as ‘acousmatic’, thereby connecting sound practice to the clandestine operations of contemporary economic logic and logistics. Examining sound works by the artists Samson Young and Matthieu Saladin, sound’s relationship to these adjectives is reimagined, not as a confirmation of sound’s privileges, but as a passage to a critical position.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127774613","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}
{"title":"Origin Stories","authors":"J. Stoever","doi":"10.1093/oxfordhb/9780190274054.013.35","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.35","url":null,"abstract":"This chapter examines auditory racism via the concepts of the sonic colour line and the listening ear and details its fundamental, deeply-rooted impact on what is called ‘sound art’. As the sonic colour line sorts ‘good’ listeners from ‘bad’, the curatorial listening ear—the disciplinary mode of white listening operating as the sonic colour line’s ready attendant—thoroughly permeates the exhibition, review, and scholarship of sound art, particularly in three areas: the field’s origin story, the pointed rejection of self-identified black diasporic aesthetics, and a refusal to hear critique on these grounds. In addition to auditing prior scholarship, I challenge previous renderings of ‘sound art’ via close and historically-contextualized analysis of artworks by Camille Norment, Betye Saar, Mendi + Keith Obadike, and Jennie C. Jones.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114989414","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}
{"title":"Sound Art: Hearing in Particular","authors":"John Levack Drever","doi":"10.1093/oxfordhb/9780190274054.013.38","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.38","url":null,"abstract":"Extoling and promoting listening is deeply ingrained in sound art practice and discourse, even on occasion its raison d’être, where listening is understood as a wholly congenial, benign activity. This can be seen through the routine use of affirmative tropes such as, through listening we: connect, locate, are embodied, discern, are immersed or enveloped. And through specific listening methods such as Deep Listening, we are offered ‘expand[ed] consciousness to the whole space/time continuum of sound/silences’ (Oliveros, 2005, p. xxiv). Refocusing from the act of listening to the audiological—the mechanisms related to the sense of hearing—from the findings of the author’s recent research, in particular his review on the noise impact of high-speed hand dryers (Drever, 2013), the author feels obliged to assert that the contrary is a reality for many—hearing, from time to time or incessantly: perturbs, isolates, excludes, disconnects, disembodies, and dislocates, hearing hurts! This will be familiar for those living with hyperacusis, misophonia, and phonophobia, but it can also be the case for those with particular hearing needs such as the partially sighted, hearing aid users or those with sensitive hearing such as infants and ASD. Bringing audiology into the sphere of sound art, this chapter recognizes a prevailing sensitization of hearing in the culture at large, and proposes a paradigm for situating hearing that diverges from a singular, idealized, symmetrical model of hearing, the auraltypical, that has predominated. In its place, we are beginning to enjoy a fluidity and openness to diverse forms of hearing and sensitive hearers in sound art, on embracing the emerging agenda of auraldiversity.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122555994","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}
{"title":"Composing Fragmented Relations With Materials, Locations, and Archives","authors":"J. Southern, Samuel Thulin","doi":"10.1093/oxfordhb/9780190274054.013.34","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.34","url":null,"abstract":"In this chapter we build on a relational perspective to sound art, drawing on theories of mobilities research and agential realism to explore the nature and texture of relations that are not only human but material, temporal, spatial and mobile. Informed by our work about a World War I memorial Homing (2016), we describe sound production as the composition of fragmented relations. These various aspects of fragmentation do not, however, make the work fall apart. Instead, within the building of a locative sound work, fragmentation becomes central to composition. Fragments are tied together, not into a smooth flow, but into a textured experience, as sound is used as a kind of connective tissue bringing disparate elements into relationships. We therefore suggest that by focusing on a Baradian reading of relationality in sound art, fragmented relations can be seen as both leading to composition and simultaneously being produced by its situated nature.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"150 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115896939","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}
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