{"title":"The Materializing Rhetorics of Early Music","authors":"Jonathan Gibson","doi":"10.1525/res.2023.4.2.115","DOIUrl":"https://doi.org/10.1525/res.2023.4.2.115","url":null,"abstract":"Ever since Pierre Schaeffer’s admonition in his Traité des objets musicaux of 1966 to avoid “preoccupations about how things are made” by “turning our backs on the instrument” and “listening to sound objects with their instrumental causes hidden,” materially oriented studies of sound have attended increasingly to sound objects and to ontologies of sound broadly, often turning away from considerations of the tactile materiality of sound sources. Deviating from this trend, this study focuses squarely on sound source materiality, and on our motivations for either foregrounding or dismissing it in our verbal, visual, and sonic rhetorics.\u0000 As a case study, I turn to the Early Music movement, understood here as a constellation of cultures invested in the consumption and historically informed production of mostly European music written before c.1750. Seeking to distance themselves from the classical music mainstream, this movement’s participants have often adopted rhetorical stances that foreground and celebrate the materiality of sound sources, particularly instruments and their constituent parts. Rooted partly in the assumption that instruments may act as material conduits to imagined historical soundscapes, these materializing rhetorics are also born out of affinities among producers and consumers of Early Music for musical works whose poetics are themselves bound up in materiality—and in turn, for particular instruments whose sounds tend to animate such poetics. Selected theories of Michel Chion, Roland Barthes, and others are invoked in an effort to situate the verbal, visual, and sonic materializing rhetorics of Early Music cultures within broader discussions of sound source materiality.","PeriodicalId":448003,"journal":{"name":"Resonance: The Journal of Sound and Culture","volume":"75 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":"125185283","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":"LEGOfied Sound","authors":"Malcolm Ogden","doi":"10.1525/res.2023.4.2.158","DOIUrl":"https://doi.org/10.1525/res.2023.4.2.158","url":null,"abstract":"This paper argues that the album/playlist LEGO White Noise, released on Spotify in 2021, can be understood in relation to various other kinds of self-care oriented audiovisual media that have proliferated online in recent years, such as ambient, sound-healing, and ASMR. Beginning with the making of LEGO White Noise, this paper also looks at several non-LEGO-affiliated examples of these various categories on YouTube, tracing a common suggested mode of use characterized by creative, embodied, playful experimentation. Drawing on the work of post-Autonomist Marxist theorists, this paper interprets this underlying orientation via the concepts of free labor and immaterial labor, arguing that LEGO’s attempt to strategically situate itself relative to this broader trend on audiovisual platforms emphasizes the central role of networked and computational media as the common means by which individuals living in postindustrial settings not only perform different kinds of labor but also pursue different forms of self-care, comfort, and pleasure. What LEGO White Noise also demonstrates is the unique propensity of audiovisual platforms to produce aesthetic forms that, in their more ambiguous and indeterminate aspects, resist easy categorization, which therefore complicates any attempts to capitalize on or appropriate them. In addition to tracing a number of common habits, behaviors, and orientations between LEGO users of various ages and audiovisual platform users, this paper also stresses the need for more nuanced critical appraisals of the latent social and political potentials surrounding similar platform-based content.","PeriodicalId":448003,"journal":{"name":"Resonance: The Journal of Sound and Culture","volume":"66 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":"133377406","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":"And Then Suddenly, It Was Simply Everywhere","authors":"Alejandro T. Acierto","doi":"10.1525/res.2023.4.2.210","DOIUrl":"https://doi.org/10.1525/res.2023.4.2.210","url":null,"abstract":"This article offers an artistic reflection on the Queer Percussion Research Group Zine Collection (2023) through the concept of shimmering as a queer political and positional affect across light and sound. With over a dozen contributions that consist of artist publications, pamphlets, and experimental scores, the Zine Collection was produced by folks “interested in the intersection of queerness and percussion in a variety of contexts.” While glitter scatters across contributions from inside the clear plastic folio, this writing recounts the impact and implications of glitter’s trace as it moves between surfaces, bodies, and skins. Rather than declaring glitter as inherently queer, this work considers the ways that glitter—and other glistening things—“blur the body,” as Michele White writes, and disrupts normative presentations of gender. Its reflective surfaces thus become entangled with the slippages between the masculine/feminine binary, shifting the legibility of the (gendered) surface that might allow viewers to see otherwise. Thinking with and alongside glitter’s shimmering properties allows for a reconceptualization of queer, which might enable further forms of conceptual movement and framing that extend its theoretical capacity.","PeriodicalId":448003,"journal":{"name":"Resonance: The Journal of Sound and Culture","volume":"2015 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":"121481646","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":"Queer Trash","authors":"Charles Eppley","doi":"10.1525/res.2023.4.2.198","DOIUrl":"https://doi.org/10.1525/res.2023.4.2.198","url":null,"abstract":"“Queer Politics & Positionalities in Sonic Art” series editor Charles Eppley speaks with Michael Foster and Richard Kamerman of Queer Trash, a curatorial platform based in New York City that features experimental art, music, and performance by LGBTQ2S+ artists. They discuss the concepts of queer sound and listening, methods of improvisation, queer identity and expression, tokenization and exploitation, DIY culture, and the limits of arts funding for queer sonic artists.","PeriodicalId":448003,"journal":{"name":"Resonance: The Journal of Sound and Culture","volume":"2 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":"125589817","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":"The Ecstasy of Queer Noise","authors":"R. Frumkin","doi":"10.1525/res.2023.4.2.192","DOIUrl":"https://doi.org/10.1525/res.2023.4.2.192","url":null,"abstract":"An essay of creative nonfiction about sound and queerness, including descriptions of trans and queer culture as they apply to the sonic arts.","PeriodicalId":448003,"journal":{"name":"Resonance: The Journal of Sound and Culture","volume":"215 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":"122211100","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":"Gambiarra and the In(ter)dependent Condition","authors":"Bibiana da Silva de Paula, Eduardo H Luersen","doi":"10.1525/res.2023.4.2.143","DOIUrl":"https://doi.org/10.1525/res.2023.4.2.143","url":null,"abstract":"This article analyzes the relationships of interdependence between musicians and natural or artificial agents of their environment. Considering processes of recycling and refunctionalization of materials with artistic purposes, such relationships are observed in the construction of instruments involving gambiarra in their manufacturing, with a focus on the specific case of an experimental music duo, Senyawa. The paper is theoretically and epistemically grounded in studies focusing on gambiarra, media and ecology, and media archaeology. The methodological procedures encompass analyses of instrument manufacturing processes developed by Wukir Suryadi, one of the members of Senyawa. As a contribution to studies of sound and culture, the article concludes that, through creative practices involving obsolete media materialities, gambiarra processes allow us to observe the continuous relationships between technology and nature in the design and manufacturing of technical artifacts.","PeriodicalId":448003,"journal":{"name":"Resonance: The Journal of Sound and Culture","volume":"8 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":"122187341","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":"A Commonality of Feeling through Sound","authors":"Ian Derk","doi":"10.1525/res.2023.4.2.176","DOIUrl":"https://doi.org/10.1525/res.2023.4.2.176","url":null,"abstract":"This paper focuses on the activist soundwork of a low-power FM (LPFM) radio station in South Phoenix, Arizona. The soundwork done by this LPFM station creates a commonality of feeling, an important component in forming communities through soundwork. Through digital technology and the creation of unlikely publics, this radio station’s activism focuses on creating spaces of belonging rather than spaces of deliberation.","PeriodicalId":448003,"journal":{"name":"Resonance: The Journal of Sound and Culture","volume":"73 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":"123040198","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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