Material matters : chemistry driving performance最新文献_第2页

"Revolutions in Sound": Keynote Duet "声音的革命主题二重奏

Material matters : chemistry driving performance Pub Date : 2022-06-09 DOI: 10.7202/1089675ar

Christine Bacareza Balance, Alexandra T. Vazquez

引用次数: 0

Embodied Collective Choreographies: Listening to Arena Nightclub’s Jotería Sonic Memories 体现集体编舞:听Arena夜总会的Jotería Sonic Memories

Material matters : chemistry driving performance Pub Date : 2022-06-09 DOI: 10.7202/1089682ar

Eddy Francisco Alvarez Jr.

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Listening to Country: Immersive Audio Production and Deep Listening with First Nations Women in Prison 聆听国家:身临其境的音频制作和对监狱中第一民族妇女的深度倾听

Material matters : chemistry driving performance Pub Date : 2022-06-09 DOI: 10.7202/1089679ar

Sarah Woodland, Leah Barclay, V. Saunders, Bianca Beetson

{"title":"Listening to Country: Immersive Audio Production and Deep Listening with First Nations Women in Prison","authors":"Sarah Woodland, Leah Barclay, V. Saunders, Bianca Beetson","doi":"10.7202/1089679ar","DOIUrl":"https://doi.org/10.7202/1089679ar","url":null,"abstract":"Listening to Country was an arts-led research project where, as an interdisciplinary team of practitioner-researchers, we worked with incarcerated Aboriginal and Torres Strait Islander women to produce a one-hour immersive audio work based on field recordings of natural environments. The project began with a pilot phase in Brisbane Women’s Correctional Centre (BWCC), Australia, to investigate the value of acoustic ecology in promoting wellbeing among women who were experiencing separation from family, culture, and Country (ancestral homelands). The team facilitated a three-week program with the women, using arts-led processes informed by visual art, performance, Indigenous storywork, and dadirri (deep, active listening). The soundscape presented here is a response to the creative process that we led inside the prison and the audio work that the incarcerated women co-created with the research team. The accompanying text describes the background to the original project, the process we undertook in the prison, and our methodology for translating knowledge from the research based on the acoustic and poetic resonances of our experience.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77097684","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}

引用次数: 0

The Right to Remain “Silent": Deaf Aesthetics in GANGSTA 保持“沉默”的权利:黑帮中的聋人美学

Material matters : chemistry driving performance Pub Date : 2022-06-09 DOI: 10.7202/1089681ar

Aidan Pang

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Therapeutic Nanoparticles Harness Myeloid Cells for Brain Tumor-targeted Delivery and Immunomodulation. 治疗性纳米颗粒利用髓系细胞进行脑肿瘤靶向递送和免疫调节。

Material matters : chemistry driving performance Pub Date : 2022-01-01

Abby Ellingwood, Hanxiao Wan, Catalina Lee-Chang, Maciej S Lesniak, Peng Zhang

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Listening Backward: Sonic Intimacies and Cross-Racial, Queer Resonance 向后听:声音亲密和跨种族，酷儿共鸣

Material matters : chemistry driving performance Pub Date : 2021-03-16 DOI: 10.7202/1075804AR

K. Wood

引用次数: 1

Decolonial Echoes: Voicing and Listening in Rebecca Belmore's Sound Performance 非殖民化回声:丽贝卡·贝尔莫的声音表演中的声音和聆听

Material matters : chemistry driving performance Pub Date : 2021-03-16 DOI: 10.7202/1075796AR

I. Blake

引用次数: 0

Mourning the Nightingale’s Song: The Audibility of Networked Performances in Protests and Funerals of the Arab Revolutions 哀悼夜莺之歌:阿拉伯革命抗议和葬礼中网络表演的可听性

Material matters : chemistry driving performance Pub Date : 2021-03-16 DOI: 10.7202/1075803AR

Shayna Silverstein

{"title":"Mourning the Nightingale’s Song: The Audibility of Networked Performances in Protests and Funerals of the Arab Revolutions","authors":"Shayna Silverstein","doi":"10.7202/1075803AR","DOIUrl":"https://doi.org/10.7202/1075803AR","url":null,"abstract":"Given the salient role of embodied tactics in contemporary networked protests in performance, in this essay I listen for how the embodied sonic praxis of protests during the Arab revolutions translates into the audio, visual, and text modalities of digital media. I propose audibility, or the appearance and perceptibility of sound objects, as that which translates the “live” sound that occurs in physical spaces into representational spaces, and, in so doing, alters the temporality and spatiality of the sonic experience. Interrogating who and what are rendered audible as part of the political contestations that drive protest actions, I demonstrate how audibility is a technological condition, sensory force, and social process through which affective publics emerge in networked spaces. I begin with social media posts from the first months of non-violent protest actions in 2011, in Egypt and Syria, analyzing the translation of sonic objects into written texts that narrativize the subjects and spaces of the Arab revolutions. I then shift to the sonic praxis of revolutionary mourning in a discussion of the audibility of the crowd in footage of protest funerals that reclaimed martyrs of the Syrian revolution in 2018 and 2019, interrogating how the sounds of the crowd enable the mythologization of the martyrs’ bodies and help mobilize the cause for which they died. Both approaches to audibility – as expressing voice and documenting sounds – underscore how audibility, I argue, is crucial for understanding the affect-rich intensities that drive networked protest performances, and that forge political possibilities as imaginable, sensible, and perceptible.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82445533","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}

引用次数: 0

Sound Acts, Part 1: Calling Back Performance Studies 声音行为，第 1 部分：唤回表演研究

Material matters : chemistry driving performance Pub Date : 2021-03-16 DOI: 10.7202/1075795AR

引用次数: 2

Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs 听觉:听Bomba Dance，听puertorriqueñxs

Material matters : chemistry driving performance Pub Date : 2021-03-16 DOI: 10.7202/1075798AR

Jade Power-Sotomayor

{"title":"Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs","authors":"Jade Power-Sotomayor","doi":"10.7202/1075798AR","DOIUrl":"https://doi.org/10.7202/1075798AR","url":null,"abstract":"Afro-Puerto Rican bomba, the island’s oldest extant genre of drum, dance, and song, is a fundamentally sonic practice. Unique in the tight relation between the execution of movements and the simultaneous sounding of the lead drum, bomba dance enacts a challenge to the Western focus on the visual spectacle of dancing and draws attention to what Ashon Crawley calls the “choreosonic,” or the inextricable linking of movement and sound. Bomba dance attends to creating rhythmic variation through specific movement choices strategically placed within and simultaneously producing the sonic framework of drumming and dancing. As such, it requires a listening that ultimately structures a relationality that interrupts the colonial, white supremacist and heteropatriarchal logic that contains Puerto Rican bodies. Through a close reading of different bomba dancings, this article examines how the dancer’s sounded movements claim, not space itself, but a relation to space and place, pulling bodies into the social and unravelling temporal boundedness. It argues that bomba’s growing popularity on the island and in the diaspora is a measure of its capacity for “listening to flesh,” “listening to flesh speak,” underscoring how this particularly addresses and is attuned to a subaltern, racialized, and femme-identified flesh. As such, bomba is an important case study examining the intersections between sound studies and performance studies, blurring clear distinctions between listening to and doing sound.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"274 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73559594","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}

引用次数: 0