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Richard Rolle constructed a life, and a life's work, in and with sound. Earlier studies have noted the aural quality of the hermit's oeuvre, commonly assessing the melody of his mystical transport and the sonic patter of his texts as indexical vehicles for loftier spiritual truths. This essay seeks to do something different with Rollean sound: to shift the modality of our reading toward a radically open ear so we can listen to Rolle's writings without translating their sonority otherwise. By following Rolle's lead and repositioning literary experience away from signifying language toward the sounds through which language signifies, we come to appreciate Rolle as a sophisticated sense-maker whose mystical output invites us to theorize a medieval sound art. Adapting elements of Salomé Voegelin's philosophy of sound art, this essay reconsiders one of the best-known Rollean episodes, the narration of his first audition of canor in Incendium amoris , and offers a reading of one of the least-studied Rollean texts, the alliterative prose-poem Gastly Gladnes. Encountering these texts through a practice of close listening allows us to notice how Rolle's spiritual sensorium, lived practices, and texts cooperatively generate "sonic possible worlds," spaces of futural sonic becoming that make bold claims to the nature of the true. Attended to with care, Rolle's sound art spurs a radical reimagining of the aesthetic ambit and devotional invention of the late Middle Ages, even as it renovates our assessment of Rolle's textual output and challenges the intellectual norms of literary scholarship. [ABSTRACT FROM AUTHOR]

Throughout the 1970s, a drive towards the diversification of mediums available to artists led to artists working across numerous mediums not usually associated with visual art. While some came to work with sound as a central focus in their practice, most used sound as a medium to be employed in particular artworks for conceptual purposes. The paper is focused on five audio and sound exhibitions presented in New York City between 1978 and 1984. These large group exhibitions were held in alternative art spaces and not-for-profit art galleries and have received little critical attention beyond reviews published in local newspapers and art magazines. As such, these exhibitions have all but disappeared from the history of sound in art and from art history in general. I will argue that this cluster of group shows signal to an emergent practice that was moving past the post-medium condition and conceptual art towards the postmodernism of the 1980s. These exhibitions point to an understanding of sound as a medium of visual art that is at odds with contemporary scholarship in the sonic arts, which favours a music-based understanding of approaches to sound within the art gallery. [ABSTRACT FROM AUTHOR]

This paper explores do-it-yourself (DIY) and maker practices within sound and electronics through a close reading of Electronics and music maker magazine, first published in the UK in 1981 by electronic component supplier Maplin electronics. Comparisons are made between these sonic cultures of making of the early 1980s and more contemporary activity and commentary within the field. Themes used to make these comparisons are community, activism, learning and teaching, and experimentalism. Differences and similarities between sonic DIY practices defined as orthodox and experimental are considered; questions relating to what constitutes sonic DIY practice in a changing sociotechnical landscape are raised; shifting community identities and tensions within sound technology interest groups are discussed; and motivations and methods for the support of learning sound electronics are compared. The paper makes a novel contribution to contextual histories and theories of DIY sound and technology practices, which typically cite radio hams of the early twentieth century and experimental music of the 1960s/70s as precursors to current activities. It brings a breadth of scholarship from the wider field of maker culture to bear on sound-specific DIY practice. [ABSTRACT FROM AUTHOR]

Inspired by the paradigm of Latin American Cultural Studies, we approach the topic of artificial intelligence from a sociocultural orientation, that is, addressing the tactics of appropriation of this technology by subjects, based on an empirical study. The objective is to analyze the insertion of generative artificial intelligence in the daily lives of young students on the Bachelor’s degree in Image and Sound at the Department of Arts and Communication at the Federal University of São Carlos. [ABSTRACT FROM AUTHOR]

While urban sound management often focuses on sound as a nuisance, soundscape research suggests that proactive design approaches involving sound art installations can enhance public space experience. Nevertheless, there is no consensus on a methodology to inform the composition of sound installations through soundscape evaluation, and little research on the effect of composition strategies on soundscape evaluation. The present study is part of a research-creation collaboration around the design of a permanent sound installation in an urban public space in Paris (Niches Acoustiques by Nadine Schütz). We report on a laboratory study involving the evaluation of composition sketches prior to the deployment of the installation on-site. Participants familiar with the public space (N = 20) were exposed to Higher-Order Ambisonics recordings of the site, to which compositions of the sound installation pertaining to different composition strategies were added using a soundscape simulation tool. We found three principal components relevant for evaluating and comparing sound installation sketches: pleasantness, familiarity and variety. Further, all composition sketches had a significant effect on the soundscape's familiarity and variety, and the effect of the compositions on these two components was stronger when composition strategies involved abstract sounds (sounds which were not clearly identifiable). [ABSTRACT FROM AUTHOR]

The authors, an artist and a geophysicist, present three different approaches to art-science projects, depicting hybrid models of interdisciplinarity, particularly via sound art. They first cooperate to create an art installation using sonified seismic data collected in Antarctica, moving then to vibrational data at a seismic deployment in the Jornada desert, New Mexico, envisioning a site-specific listening approach that would effectively merge art and science. The authors propose new models of collaboration in ever-more-urgent global responses to the climate crisis, revealing what we might call the "voices" of climate change. [ABSTRACT FROM AUTHOR]

This paper discusses the development of artistic collaboration during the global lockdown, related to the COVID-19 pandemic. The art work under study involves the author’s practices of ecological sound art and intercultural collaboration in collaboration with Canadian composer and improviser John Oliver. A primary outcome of this work was the album Isolation Journal, released in 2020, in the midst of the pandemic. One feature of Isolation Journal was how it revisited site-specific recordings made in Vietnam, on the countryside north of Hanoi, for an installation made by Östersjö in collaboration with Nguyễn Thanh Thủy and Matthew Sansom [Östersjö, Stefan, and Thanh Thủy Nguyễn. 2016. “The Sounds of Hanoi and the After-Image of the Homeland.” Journal of Sonic Studies 12. https://www.researchcatalogue.net/view/246523/246546]. Through remote interactions, and by building a complex sampler instrument using Östersjö's recordings of Aeolian đàn đáy, a traditional Vietnamese lute, as well as field recordings from the site, Oliver and Östersjö created the album Isolation Journal through remote interaction. This in turn became a fundamental building block when the author's Vietnamese/Swedish group The Six Tones took the initiative to develop a scene for telematic performance at Manzi Art Space in Hanoi. This series started out with a concert with John Oliver, The Six Tones and guest performers from Hanoi in July 2020. Building on audio and video documentation, as well as on qualitative interviews with the participating co-performers, an analysis of the emergence of discursive voice [Gorton, David, and Stefan Östersjö. 2019. “Austerity Measures I: Performing the Discursive Voice.” In Voices, Bodies, Practices: Performing Musical Subjectivities, edited by Catherine Laws, William Brooks, David Gorton, Nguyễn Thanh Thủy, Stefan Östersjö, and Jeremy J. Wells, 29–79. Orpheus Institute Series. Leuven: Leuven University Press] is drawn from these two internally linked artistic projects. The paper develops the analytical framework of tele-copresence, a synthesis of the contrasting concepts of telepresence and copresence, as a means for analysing the virtual presence which emerges through such remote musical interaction.  [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ESTOA: Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca is the property of ESTOA Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nursalim Yadi Anugerah is an Indonesian modern contemporary artist, who uses the drones of Kledik, an instrument from Kalimantan in his artwork called 'Lawing'. Anugerah has engaged in addressing socioenvironmental concerns through an interdisciplinary approach. His unique approach towards drone and sound art makes him an appropriate choice for this research. The primary objective of this research is to inquire the use of drone in Indonesian Sound Art within the context of 'Lawing' put forward by Anugerah. The research methodology adopted for this study is Sound Ethnography. The data was collected through semi-structured interviews, observations, and literature review. Manual coding and triangulation were used to analyse and interpret the data. Various themes and subthemes were derived through the analysis of the interviews and observations. The researcher found relevant themes like aesthetic and experiential quality of drone, and innovation with drone. This study examines the aesthetics of lawing including tone, texture, resonance and noise within the context of drone. The concept of Lawing is the connection of humans and breathing at a personal level. Anugerah used an air compressor for his performance, which is an innovative way of approaching Kledik to create drone. Ambisonic sound systems and specialized microphones have been purpose-designed to craft such artworks, creating a unique spatial experience, and distinctive experiential dimension for the audience. The incorporation of technology with ethnic music in these artworks, emerges as a central driver of creativity and novelty. The study of 'Lawing' illustrates Anugerah's innovative approach to transform the melodic rhythmic drone of the traditional Kledik into a continuous drone with various density in texture. Anugerah has been actively creating sound art, fusing philosophical and cultural underpinnings of Dayak's with contemporary technology. 'Lawing' not only presents the Dayak people's belief, but also provoke listeners to understand the environmental issues faced in Kalimantan. [ABSTRACT FROM AUTHOR]

This special issue of the Journal of Science and Technology of the Arts is inspired by the first >>| Explorations on Sound and New Media Art Conference, held at the Universidade Católica Portuguesa, School of Arts in Porto, Portugal. Like the conference, this issue seeks to celebrate the convergence of sound, new media, and artistic expression by exploring a wide range of innovative practices, theories, and approaches. It aims to foster meaningful discussions that critically examine traditional notions of art while pushing the boundaries of creativity. Following the conference, we invited various authors to develop and submit their research, with the hope that their contributions will shed further light on how we perceive and construct the world through sonic and new media art practices.

ABSTRACTAs airport terminals continue to expand, the level of noise steadily increases, and yet when we think of an airport lounge, we tend to recall an image rather than a sound. Simultaneously, modern airport terminal design incorporates sound media artworks that appear to be adding to the existing cacophonic soundscape. Understanding that sound plays a formative—albeit often nonconscious—role in the shaping of our sense perception of (airport) space, in this article—resorting to Gilles Deleuze and Félix Guattari’s radical empiricism—I speculate an immanent and metallurgical approach towards airport sound art, which puts forth aesthetic experience as essentially entangled with airport space and the sensorium. Engaging with two of an American artist, Christopher Janney’s airport sound and visual installations, the article posits sonorous assemblages to explore a sonic aesthetic of airport experience. In probing the boundaries of routinized perception, it thus forays into an extraperceptual dimension of spatial aesthetics.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author connects reviving her piano practice after a 20-year hiatus with her deaf right ear "learning" to hear again with a cochlear implant. She touches upon parallels between the physiology of the instrument and her own body, and how they inform the inquiry for her Leonardo CripTech Incubator/Thoughtworks Arts residency project Song Without Words. [ABSTRACT FROM AUTHOR]

What happens when speech synthesis applications are incompatible with certain software? This essay considers how inaccessibility within the software and programming language Max is sonically, aesthetically, culturally, and ideologically amplified through a case study of "plus noise unlock," which is the sound made by the author's computer when she attempts to use a screen reader within a patcher window. [ABSTRACT FROM AUTHOR]

Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground. [ABSTRACT FROM AUTHOR]

INCANTATIONS is a collection of sixteen visual and sonic experiments centred around the idea of score as spell. The project was curated and produced for The Witch Institute in 2021 by Brandon Hocura and Naomi Okabe, who together run the record label Séance Centre. Pairing a visual/test-based artist with a musician/composer, they commissioned original works in which a spell (visual score) was interpreted and manifested in sound. The contributing artists include Felicia Atkinson (Belgium), bill bissett (Canada), adrienne maree brown (USA), Scott Gailey (Canada), C.R. Gillespie (Canada), Beverly Glenn-Copeland (Canada), David Horvitz (USA), Benjamin Kilchofer (Switzerland), Idris Rahman (UK), Mehrnaz Rohbakhsh (Canada), Gavilan Rayna Russom (USA), Tomoko Sauvage (Japan/France), Dani Spinosa (Canada), Mona Steinwidder/Museum Of No Art (Germany), Yu Su (China/Canada), Andrew Zukerman (Canada). [ABSTRACT FROM AUTHOR]

We present an artistic research developed with university students. Under the theme of memories and the idea "Machines have memory, people have memories", an exhibition was presented at the Computer Museum with the title "The design of memories", with 22 artistic installations made by students, establishing a dialogue with the museum' collection. The research seeks pedagogical alternatives from art education, incorporating approaches that investigate social, political and cultural aspects, such as museums, as well as collective creation formats. It is presented as a case study, incorporating teaching narratives, questionnaires, and Arts-Based Research. The positive evaluation of the exhibition leads us to consider this activity as an enriching model in artistic and heritage education, promoting creativity and collaborative work. [ABSTRACT FROM AUTHOR]

This paper describes the design process for The Mind at Work, a light and sound art installation using networked devices, as a case study in working creatively with complex and unknown technological systems. The art installation evoked the development of a reusable framework for making scalable, re-configurable, audiovisual systems, while creating a specific artwork for a gallery exhibition. The development process was observed systematically to understand how creative coders navigate the challenge of integrating the technical and aesthetic considerations simultaneously. Building on existing design literature, the research is centred on an activity we call space shaping: setting up an environment to create tools for exploration. We consider critical points in the design process which affect how space shaping takes place [ABSTRACT FROM AUTHOR]

Tinnitus, Speaking is a hybrid text – one part essay, one part interview – which demonstrates how sound artist Daniel Fishkin's experience of tinnitus might be listened to and thought about from the vantage point of psychoanalysis and in relation to his creative practice. Originally composed for a lay audience of listeners at one of Fishkin's public presentations, the below work furnishes readers with a preliminary exploration of how a psychoanalytic understanding of bodily symptoms as subjective manifestations of language might add to popular and academic conversations concerning the way tinnitus in conceptualized in relation to the body and discourse. In order to do so, the text approaches the sound art, speech, and symptoms of Daniel Fishkin as a kind of clinical vignette shedding light on how tinnitus can be experienced at the level of language and art while also illuminating aesthetic practice to be an extension of psychoanalysis. [ABSTRACT FROM AUTHOR]

This paper provides a broad but comprehensive foundation for understanding the widespread practice of using the bioelectric properties of plants to create music and sound. We begin by describing how plant biosignals are harvested by several commercial electronic devices and a custom-designed interface. Then, we analyze large data samples of potential musical content generated by such technologies. Next we investigate the artistic and musical choices artists make when they interpret this data, analyzing work by British sonic artist Augustine Leudar, the Philadelphia Museum of Art7s Data Garden Quartet, and Japanese composer Mamoru Fujieda. Finally we position the entire enterprise within a posthumanist semiotic framework, specifically referencing work by Uexkull, Deleuze, Krampen, Watkins, and Marder. This interpretation allows us to speculate on the nature of communication and musical collaboration that can potentially take place between the human and vegetative domains. [ABSTRACT FROM AUTHOR]

This article examines two renditions of an artwork titled 100, which celebrate a historic radio transmission in 1916 during the Irish war for independence. The centenary artwork delves into the concept of radio transmission as an artistic expression rather than solely a practical function. The work explores the intersection of radio transmission with installation art, as well as its connections to sound art and sound design. Engaging with diverse theoretical frameworks, the article interrogates the boundaries of radio and its relationship with other media expressions. It also seeks to understand important historical works and events within radio, with a focus on exploring the roots of radio and its history in Ireland. [ABSTRACT FROM AUTHOR]

This article reviews the history, methods, engagements, and longstanding debates of the sonic medium of field recording. It considers not just standalone field recordings but diverse music and sound art genres where environmental sounds feature. Although they diverge in their approaches, field recordists (and those who apply these recordings in creative practice) are united in the belief that field recordings grant access to and precipitate emotionally heightened spaces. These positively-valenced emotions can potentially ameliorate the emotional toll of living through a time of socio-ecological crisis. In addition, some recordists claim that their field recordings provoke environmental reflection or inspire new environmental commitments – or both. Three exemplars – soundscapes featuring whales, birds, and a menagerie of creatures – guide a discussion on measuring field recordings' efficacy and impact. I argue that the robust link between nature connectedness (including soundscapes) and pro-environmental behaviour demonstrated in recent studies should be drawn upon more widely to bolster projects in fields like sound art, soundscape studies, and acoustic ecology. In linking art and activism, these trans-disciplinary collaborations reveal the emotional power of field recordings, the challenge of identifying qualitative results, and the promise of art-science alliances in stimulating urgent public conversations vis-à-vis environmental awareness and action. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is about a practice-based research on curating exhibits of sounds and exhibits for and about listening in the Philippines. The term "sounds" is used in this essay to refer to sound art works and music. As one of the few active curators who have been exhibiting sound/music in Manila in the past decade, I reflected on exhibits I have curated over the years as well as exhibits curated or staged by my contemporaries. This essay is a contemplation on and examination of lessons from such exhibits that may be useful in developing curatorial practice for sound exhibition in the Philippines. Special attention is given to exhibiting sounds as a counterpoint to the more conventional acts of performing sounds or exhibiting objects to look at. The act of exhibiting sounds, though it may appear random, actually expands the curatorial practice. This paper proposes that in exhibiting sounds, the task and responsibility of curators are not limited to selecting or putting up objects but cover a trifecta of affective actors. Sounds, spaces, and bodies perform together in sound exhibits, where each component contributes to a wholeness that the exhibit tries to achieve. Specifically, this paper focuses on exhibited sounds as omni-participant, observable boundaries of spaces, and frames audiences of such as listening bodies. Understanding the nature of sound as an exhibitable object (i.e., a physical object, idea, or sensation) vis-à-vis the act of exhibiting and of exhibition, as well as the place of sound among the audience, forms a complex armature that shapes the particular challenges and opportunities of exhibiting non-visual (art) objects. [ABSTRACT FROM AUTHOR]

Creative and feminist geographers position listening as a way to build more responsive, ethical, and reciprocal relations to people and environments. In this paper I argue that for geographers to situate listening – in the broadest definition as 'sensing, attuning, and noticing' – as part of a creative approach to reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Given the now prolific interest of geographers in sonic practices, this paper argues for a closer and more critical attention to how listening and sound methods are inherently determined by sonic colonialities. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound art. For geographers to situate listening – in the broadest definition as 'sensing, attuning and noticing' – as part of a creative approach toward reparative practice, we must first understand how Anglo‐European modes of listening and interpreting the world through sound are shaped by 'sonic colonialities'. These are encultured ways of apprehending and narrating environments that are derived from the Eurocentric fetish for pre‐colonial natures, imagined as discrete, unmediated, and possessable. Using the example of field recordings, I show how such practices create and perpetuate divisive ideas of nature and place within contemporary ecological sound art. [ABSTRACT FROM AUTHOR]

This article discusses the field of sound studies and its recent shift towards focusing on the global South, including Africa. It highlights the long-standing research conducted by Africanist scholars in various disciplines, such as music history, ethnomusicology, and African media studies. The special issue presented in the article aims to develop a sound studies paradigm that is rooted in and engages with African research. The articles in the collection explore the role of sound in African spaces, the representation and manipulation of sound in media, and the tensions and governance surrounding sound in urbanizing areas. The authors emphasize the need for new research methods that consider sound's cultural and technological dimensions and challenge dominant approaches to sound as a passive experience. [Extracted from the article]

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Pedagogy of Listening through soundwalk offers an immersive approach to education, integrating attentive listening as a main tool. This method, anchored in the history of sound art and sound ecology, aims to raise participants' awareness of their sound environment and to develop their critical and creative listening skills. Through concrete examples such as sensitive audio tours and projects around water or the forest, this approach explores sound territories in a contextualized way. Tools such as the digital recorder and interactive maps enrich the experience, while action research promotes interdisciplinarity and social innovation. Despite the challenges related to the coordination of actors and resources, this approach promises to adapt to new territories explored thanks to technological advances and a return to authentic sensory connection. In conclusion, the pedagogy of listening offers stimulating perspectives for rethinking our relationship with soundscapes and promoting better living together in a constantly evolving world. [ABSTRACT FROM AUTHOR]

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners' awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. [ABSTRACT FROM AUTHOR]

Purpose: This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time, space and narrative under the concept of sonic flux to understand youth's sonic and aural play on digital beatmaking technologies. In doing so, the authors break from a fixation on the written and spoken word and address sound, aurality and Blacktronika creative technologies that are often present but muted in literacies and songwriting scholarship. Design/methodology/approach: The authors' team consisted of three community-based teaching artists who situated this inquiry around their own practice with youth. The authors conducted this inquiry through a qualitative, participatory and community-engaged research approach. As such, the authors codeveloped and carried out research questions and sense-making protocols that balance the power of interpretation and epistemologies among us. Findings: The findings address how the joy, laughter and play of one young musician, Malik, moved across different conceptions of time while learning to make beats in proximity to peers writing lyrics for songs. Specifically, the authors unpack how Malik's play with mobile sound-making technologies moved across linear and nonlinear time that characterize sonic space and sound art, not music and lyric writing. In doing so, the loops and durations of his sonic play were sometimes unbound by narrative structures that often code literacy and songwriting initiatives. Originality/value: The authors' inquiry speaks into literacy and songwriting initiatives that privilege spoken, written and performed word over sound. The authors ask what kind of participating structures, collaborations, ontologies and youth epistemologies open up if we think of youth in these spaces not only as performers but as programmers tinkering with time in the machine. In addition, the authors ask what literacy and songwriting spaces might look like when the duration, loops and drones of sonic space and not music are the structuring codes over narratives and linearity. [ABSTRACT FROM AUTHOR]

Luigi Russolo's Intonarumori together with his manifesto L'arte dei rumori (1913) marked a break with the art of clear signification. From here on, noise and dispersed sounds replaced the concept of music reverberating the harmony of the spheres by propelling the quandaries of immanence contingent on palpable resonance performing the differential relational manner of heterogeneous existence. This somatic turn is central to Jean-Luc Nancy's Listening, where he proposes listening as a tangible fundamental resonance rumbling the corpse sonore. This paper elaborates on the move from the art of music to the plurality of rhythmic worlds. Nancy's proposition of sonorous existence demonstrates two movements, one that retreats from hearing the Pythagorean musical-arithmetical cosmos exhibited in Robert Fludd's Monochord, the other plays the singular plural pulsations of dispersed creation performed by Michael Snow's Tap. [ABSTRACT FROM AUTHOR]

This article addresses ongoing discussions regarding the material and cultural legacies of the German Democratic Republic (GDR). It draws on texts produced by two individuals that were members of the Chilean artistic community that lived in exile in the GDR during the Chilean military dictatorship (1973–90). I argue that descriptions of musical activity and sonic memories within these texts offer a powerful counterpoint to some of the more prevailing assumptions that tend to position East German cultural history either as relic of material nostalgia or simply subsumed under capitalism after the period of German reunification. By positioning the ephemeral and unruly sonic traces of the Chilean exile community against mainstream narratives of GDR history, this article offers the possibility of examining and animating spaces subject to invisibility and disappearance in contemporary German memory. [ABSTRACT FROM AUTHOR]

This article explores the vital importance of the sensory at the nexus of the artificial and real life. Co‐existing within colonial histories, the artificial and lived are bound up with intractable violence and inequities driven by capitalist, militarist, and anthropocentric trajectories. Our collaborative article examines the 30‐year practice of the non‐binary, Gamilaraay/Wailwan/Biripi artist r e a. As we contend, r e a's experimental media arts practice pivots on sensory and affective truth‐telling of the "artificial". Their work is a re‐Indigenization of country, body, and experience, specifically because digital art represents an "unoccupied space" for counter‐historical transformation. [ABSTRACT FROM AUTHOR]

Tell England (1931), Anthony Asquith and Geoffrey Barkas' film depicting the Battle of Gallipoli, unsurprisingly incited emotional responses from its audiences. In Turkey, at a time when memories of the war were still fresh, the feeling was that Tell England would benefit from the insertion of a few 'local scenes'. Additional scenes were written by author, Ziya Şakir, who also appeared in the film alongside other Turkish actors. In January 1932, this new version of the film was screened under the new title, Çanakkale/Gallipoli. In order to meet the demand for the indigenous production of the talkies in Turkey at a time when the necessary resources and infrastructure were not readily available, Tell England served as a way of offering a film which could meet these demands, without having to produce an entire film. Although the arrival of the talkies has often been described as having posed a challenge to the transnational exhibition of cinema, in this article, we will consider the ways in which local exhibitors of the period employed a number of tactics in relation to Tell England and its adaptation for Turkish audiences. In addition to subtitling, dubbing and foreign language remakes, creative strategies like those used in the Turkish production of Tell England, demonstrate the ways in which film continued to be productively exchanged internationally, even in cases where ideological reframing was required to suit local and national contexts. [ABSTRACT FROM AUTHOR]

This text resides alongside a soundwalk that took place in Al-Hussein Park, Amman, Jordan at the end of the first day of the Art and the City conference at Columbia Global Centre in Amman, June 2023, coordinated by Columbia University's Andrew Mellon Fellow Tijen Tunali. This text is not an explanatory component but an additional and complementary chorus of bird and human voices. As an art form, soundwalks take audiences out of the gallery, theatre and concert hall and connect participants to the sounds of a place, to listening at a specific site. A temporary intervention, soundwalks are a form of public art that enable audiences to engage socially and politically with place. This soundwalk was oriented to our troubled relationship with the more-than-human world, specifically the calls and songs of wild urban birds. In addition, at the end of the soundwalk a participatory component encouraged attendees to contribute to a voicing structured using experimental written scores. This text is an informal narrative in a story-telling and inclusive writerly style, grounded in fieldwork, creativity and research. It is polyphonic: the voices of the birds occur throughout the text as do several of the participants from the soundwalk. The structure of the text drifts and spirals like a bird gliding upwards on a warm thermal. It circles around the soundwalk that is at the heart of the writing. There are pauses and diversions throughout. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Latin American & Caribbean Anthropology is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)