Maarten A. Hajer
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199281671
- eISBN:
- 9780191713132
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199281671.003.0005
- Subject:
- Political Science, Comparative Politics
The decision what and how to rebuild at ‘Ground Zero’ is a highly symbolic and contentious act, with high financial stakes, in which the Lower Manhattan Development Corporation, Port Authority, ...
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The decision what and how to rebuild at ‘Ground Zero’ is a highly symbolic and contentious act, with high financial stakes, in which the Lower Manhattan Development Corporation, Port Authority, private stakeholders, mourning families, and inhabitants compete about the meaning of the site. Examining the stories of Ground Zero the chapter makes out four different discourses: (1) The Programme (2) Memorial Discourse, (3) Revitalization, and (4) Phoenix. The chapter studies the policy process focusing on two policy practices through which the meaning of rebuilding Ground Zero gets enacted in a particularly interesting way for the book. Listening to the city and the subsequent Design study constitute examples of opening up a closed process. The empirical analysis shows how new techniques of deliberation were employed, allowing many publics into the policy conversation. It also reveals interesting examples of how to recombine expertise and participation, and design experts cooperating with various audiences. However, by the lack of a creative follow-up, and a script that would have kept the public involved, the ‘rebuilding as a democracy’ in the end turns out to be an unhappy performative. In the end the oyster of classical-modernist politics that was forced open, closed again. A chance for an authoritative governance based on the story line of ‘we must rebuild as a democracy’ was missed.Less
The decision what and how to rebuild at ‘Ground Zero’ is a highly symbolic and contentious act, with high financial stakes, in which the Lower Manhattan Development Corporation, Port Authority, private stakeholders, mourning families, and inhabitants compete about the meaning of the site. Examining the stories of Ground Zero the chapter makes out four different discourses: (1) The Programme (2) Memorial Discourse, (3) Revitalization, and (4) Phoenix. The chapter studies the policy process focusing on two policy practices through which the meaning of rebuilding Ground Zero gets enacted in a particularly interesting way for the book. Listening to the city and the subsequent Design study constitute examples of opening up a closed process. The empirical analysis shows how new techniques of deliberation were employed, allowing many publics into the policy conversation. It also reveals interesting examples of how to recombine expertise and participation, and design experts cooperating with various audiences. However, by the lack of a creative follow-up, and a script that would have kept the public involved, the ‘rebuilding as a democracy’ in the end turns out to be an unhappy performative. In the end the oyster of classical-modernist politics that was forced open, closed again. A chance for an authoritative governance based on the story line of ‘we must rebuild as a democracy’ was missed.
Norie Neumark
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780262036139
- eISBN:
- 9780262339834
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036139.001.0001
- Subject:
- Music, Theory, Analysis, Composition
Moved by Aboriginal or Indigenous understandings of tracks, Norie Neumark’s Voicetracks seeks to deepen understandings of voice through listening to a variety of media and contemporary art works from ...
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Moved by Aboriginal or Indigenous understandings of tracks, Norie Neumark’s Voicetracks seeks to deepen understandings of voice through listening to a variety of media and contemporary art works from Australia, Europe, and the United States. The author aims to bring voice studies into conversation with new materialism to broaden thinking within both. Through a methodology based in listening, she brings theories of affect and carnal and situated knowledge into conversation with her examples and the theories she works with. Through her examples, Neumark engages with artists working with animal sounds and voices; voices of place, placed voices in installation works; voices of technology; and “unvoicing,” disturbances in the image/voice relationship and in the idea of what voice is. Neumark evokes both the literal—the actual voices within the works with which she engages—and the metaphorical—in a new materialist exploration of voice encompassing humans, animals, things, and assemblages. Not content with the often dry tone of academic writing, the author engages a “wayfaring” process that brings together theories from sound, animal, and posthuman studies in order to change the ways we think about and act with and within the assemblages of living creatures, things, places and histories around us. Finally, she considers ethics and politics, and describes how her own work has shaped her understandings and apprehensions of voice.Less
Moved by Aboriginal or Indigenous understandings of tracks, Norie Neumark’s Voicetracks seeks to deepen understandings of voice through listening to a variety of media and contemporary art works from Australia, Europe, and the United States. The author aims to bring voice studies into conversation with new materialism to broaden thinking within both. Through a methodology based in listening, she brings theories of affect and carnal and situated knowledge into conversation with her examples and the theories she works with. Through her examples, Neumark engages with artists working with animal sounds and voices; voices of place, placed voices in installation works; voices of technology; and “unvoicing,” disturbances in the image/voice relationship and in the idea of what voice is. Neumark evokes both the literal—the actual voices within the works with which she engages—and the metaphorical—in a new materialist exploration of voice encompassing humans, animals, things, and assemblages. Not content with the often dry tone of academic writing, the author engages a “wayfaring” process that brings together theories from sound, animal, and posthuman studies in order to change the ways we think about and act with and within the assemblages of living creatures, things, places and histories around us. Finally, she considers ethics and politics, and describes how her own work has shaped her understandings and apprehensions of voice.
Jennifer Solheim
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781786940827
- eISBN:
- 9781786945082
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940827.001.0001
- Subject:
- Society and Culture, Media Studies
The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences ...
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The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.Less
The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.
Jill Stauffer
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231171502
- eISBN:
- 9780231538732
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231171502.003.0004
- Subject:
- Philosophy, Moral Philosophy
Reveals an irony attending institutions designed to adjudicate loss that impose loss of a different kind—that of failure to hear from those most harmed what they wish to say and how they think their ...
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Reveals an irony attending institutions designed to adjudicate loss that impose loss of a different kind—that of failure to hear from those most harmed what they wish to say and how they think their world might be rebuilt. Uses cases from diverse settings in the U.S. and internationally to support the point.Less
Reveals an irony attending institutions designed to adjudicate loss that impose loss of a different kind—that of failure to hear from those most harmed what they wish to say and how they think their world might be rebuilt. Uses cases from diverse settings in the U.S. and internationally to support the point.
Allison K. Deutermann
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474411264
- eISBN:
- 9781474422154
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411264.001.0001
- Subject:
- Literature, Criticism/Theory
Early modern drama was in fundamental ways an aural art form. How plays should sound and how they should be heard were questions vital to the formal development of early modern drama, and ...
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Early modern drama was in fundamental ways an aural art form. How plays should sound and how they should be heard were questions vital to the formal development of early modern drama, and particularly to two of its most popular genres: revenge tragedy and city comedy. Simply put, theatregoers were taught to hear these plays differently. Revenge tragedies by William Shakespeare and Thomas Kyd imagine sound stabbing, piercing and slicing into listeners' bodies on and off the stage; while comedies by Ben Jonson and John Marston imagine it being sampled selectively and according to taste. Listening for Theatrical Form in Early Modern England traces the interconnected development of these two genres and auditory modes over six decades of commercial theatre history, combining surveys of the theatrical marketplace with focused attention to specific plays and to the non-dramatic literature that gives this interest in audition texture: anatomy texts, sermons, music treatises and manuals on rhetoric and poetics.Less
Early modern drama was in fundamental ways an aural art form. How plays should sound and how they should be heard were questions vital to the formal development of early modern drama, and particularly to two of its most popular genres: revenge tragedy and city comedy. Simply put, theatregoers were taught to hear these plays differently. Revenge tragedies by William Shakespeare and Thomas Kyd imagine sound stabbing, piercing and slicing into listeners' bodies on and off the stage; while comedies by Ben Jonson and John Marston imagine it being sampled selectively and according to taste. Listening for Theatrical Form in Early Modern England traces the interconnected development of these two genres and auditory modes over six decades of commercial theatre history, combining surveys of the theatrical marketplace with focused attention to specific plays and to the non-dramatic literature that gives this interest in audition texture: anatomy texts, sermons, music treatises and manuals on rhetoric and poetics.
Andrew Dobson
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199682447
- eISBN:
- 9780191762901
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199682447.001.0001
- Subject:
- Political Science, Political Theory
Although much prized in daily conversation, good listening has been almost completely ignored in that form of political conversation we know as democracy. Here Andrew Dobson examines the reasons why ...
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Although much prized in daily conversation, good listening has been almost completely ignored in that form of political conversation we know as democracy. Here Andrew Dobson examines the reasons why so little attention has been paid to the listening aspect of democratic conversation, explores the role that listening might play in democracy, and outlines some institutional changes that could be made to make listening more central to democratic processes. The focus on listening amounts to a reorientation of democratic theory and practice, providing novel perspectives on enduring themes in democracy such as recognition, representation, power and legitimacy—as well as some new ones, such as silence. Eschewing the pessimism of the ‘realist’ turn in democratic theory, Dobson shows how attention to listening can breathe life into the democratic project and help us to realize some of its objectives. Drawing on practical examples and multidisciplinary sources, Dobson shows how listening should be at the heart or representative and deliberative democracy rather than peripheral to them. He develops a notion of dialogic democracy based on structured, ‘apophatic’, listening, and meets the challenge of showing how this could be incorporated into parliamentary democracies. What should we be listening out for? Dobson addresses the question of political noise and uses the idea of recognition to develop an account of politics that takes us beyond the Aristotelian speaking being towards a Deweyan notion of the ‘event’ around which publics coalesce.Less
Although much prized in daily conversation, good listening has been almost completely ignored in that form of political conversation we know as democracy. Here Andrew Dobson examines the reasons why so little attention has been paid to the listening aspect of democratic conversation, explores the role that listening might play in democracy, and outlines some institutional changes that could be made to make listening more central to democratic processes. The focus on listening amounts to a reorientation of democratic theory and practice, providing novel perspectives on enduring themes in democracy such as recognition, representation, power and legitimacy—as well as some new ones, such as silence. Eschewing the pessimism of the ‘realist’ turn in democratic theory, Dobson shows how attention to listening can breathe life into the democratic project and help us to realize some of its objectives. Drawing on practical examples and multidisciplinary sources, Dobson shows how listening should be at the heart or representative and deliberative democracy rather than peripheral to them. He develops a notion of dialogic democracy based on structured, ‘apophatic’, listening, and meets the challenge of showing how this could be incorporated into parliamentary democracies. What should we be listening out for? Dobson addresses the question of political noise and uses the idea of recognition to develop an account of politics that takes us beyond the Aristotelian speaking being towards a Deweyan notion of the ‘event’ around which publics coalesce.
Karin Bijsterveld, Eefje Cleophas, Stefan Krebs, and Gijs Mom
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199925698
- eISBN:
- 9780199350155
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199925698.003.0003
- Subject:
- Music, History, Western, Psychology of Music
This chapter tells, notably for Germany,how automotive journalists and car mechanics initially educated drivers to carefully listen to the humming engines and transmission clutter of their ...
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This chapter tells, notably for Germany,how automotive journalists and car mechanics initially educated drivers to carefully listen to the humming engines and transmission clutter of their automobiles in order to notice and understand the causes of automotive problems. As soon as car mechanics developed into a full profession, however, drivers were told to restrict themselves to monitory listening and leave diagnostic listening to experts. This shift happened between the 1920s and 1950s, the same era in which in-built car radio became fashionable. Initially, car radio met with societal concern: would it endanger the attention span of drivers? Soon, however, car radio developed into a sonic companion for long drives, and, from the 1960s onwards, into a system regulating the emotions of drivers in difficult traffic situations. The listening driver thusturned away from the sound of their cars proper, but tothe encapsulating sound of car radio.Less
This chapter tells, notably for Germany,how automotive journalists and car mechanics initially educated drivers to carefully listen to the humming engines and transmission clutter of their automobiles in order to notice and understand the causes of automotive problems. As soon as car mechanics developed into a full profession, however, drivers were told to restrict themselves to monitory listening and leave diagnostic listening to experts. This shift happened between the 1920s and 1950s, the same era in which in-built car radio became fashionable. Initially, car radio met with societal concern: would it endanger the attention span of drivers? Soon, however, car radio developed into a sonic companion for long drives, and, from the 1960s onwards, into a system regulating the emotions of drivers in difficult traffic situations. The listening driver thusturned away from the sound of their cars proper, but tothe encapsulating sound of car radio.
Giorgio Biancorosso
- Published in print:
- 2016
- Published Online:
- March 2017
- ISBN:
- 9780195374711
- eISBN:
- 9780190493202
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195374711.001.0001
- Subject:
- Music, Popular, History, American
Situated Listening urges us to abandon the image of the music listener modeled after the reverential concertgoer or gallery dweller. The book redefines music listening with reference to cinematic ...
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Situated Listening urges us to abandon the image of the music listener modeled after the reverential concertgoer or gallery dweller. The book redefines music listening with reference to cinematic representations of listeners. Screenwriters and film directors have long been fascinated by the challenges of representing the listening experience on the silver screen. Whether they depict a character as distracted or absorbed, their films return to us an image in which we may recognize ourselves in the same situation. This is also true when a character is a parody and his or her story implausible. Even then, a film reminds us that listening is a matter of perspective and a condition shaped by unique circumstances. Cinema is also an agent in the development of new, or evolving, listening practices. Consequently, Situated Listening also addresses the spectator’s listening experience as a situation worthy of attention in and of itself. The first part argues that fictional characters are vectors in that they not only provide models of behavior but also channel our attention in the here and now of the film experience. In the second part, the focus shifts to examples in which film music is used to restrict the range of sounds to coerce the spectator to share a subjectively reconfigured soundscape. The silencing of sound via music is a legacy of nineteenth-century theater, but classical cinema has adapted it to stage a quintessentially modern condition: the short-circuiting of the attention, a process referred to here as heterological silence.Less
Situated Listening urges us to abandon the image of the music listener modeled after the reverential concertgoer or gallery dweller. The book redefines music listening with reference to cinematic representations of listeners. Screenwriters and film directors have long been fascinated by the challenges of representing the listening experience on the silver screen. Whether they depict a character as distracted or absorbed, their films return to us an image in which we may recognize ourselves in the same situation. This is also true when a character is a parody and his or her story implausible. Even then, a film reminds us that listening is a matter of perspective and a condition shaped by unique circumstances. Cinema is also an agent in the development of new, or evolving, listening practices. Consequently, Situated Listening also addresses the spectator’s listening experience as a situation worthy of attention in and of itself. The first part argues that fictional characters are vectors in that they not only provide models of behavior but also channel our attention in the here and now of the film experience. In the second part, the focus shifts to examples in which film music is used to restrict the range of sounds to coerce the spectator to share a subjectively reconfigured soundscape. The silencing of sound via music is a legacy of nineteenth-century theater, but classical cinema has adapted it to stage a quintessentially modern condition: the short-circuiting of the attention, a process referred to here as heterological silence.
Jay McDaniel
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780823238958
- eISBN:
- 9780823238996
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823238958.003.0007
- Subject:
- Religion, Theology
People in different parts of the world need to aim at becoming “ecological civilizations.” Those of us affiliated with different world religions can play a constructive role in helping bring about ...
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People in different parts of the world need to aim at becoming “ecological civilizations.” Those of us affiliated with different world religions can play a constructive role in helping bring about such civilizations in three ways. First, we can critique problematic dimensions of our own heritages that lead to a wasteful use of energy and an exploitation of the Earth. Second, we can recognize that the environment itself is not merely an issue among issues, but a context for all issues, insofar as it is the web of life in which human life is embedded. Third, we can develop fresh ways of thinking about “energy,” “God” and “human vocation.” Toward these ends, process philosophy reminds us that there are many kinds of energy, psychological and spiritual well as material, and that even consciousness is a kind of energy. Furthermore, it proposes that the mystery at the heart of the universe is an indwelling lure toward dwelling in harmony with the earth. Finally, process philosophy offers the idea that this lure is simultaneously an activity of receptive love and a Deep Listening, in whom all forms of energy are loved on their own terms and for their own sakes.Less
People in different parts of the world need to aim at becoming “ecological civilizations.” Those of us affiliated with different world religions can play a constructive role in helping bring about such civilizations in three ways. First, we can critique problematic dimensions of our own heritages that lead to a wasteful use of energy and an exploitation of the Earth. Second, we can recognize that the environment itself is not merely an issue among issues, but a context for all issues, insofar as it is the web of life in which human life is embedded. Third, we can develop fresh ways of thinking about “energy,” “God” and “human vocation.” Toward these ends, process philosophy reminds us that there are many kinds of energy, psychological and spiritual well as material, and that even consciousness is a kind of energy. Furthermore, it proposes that the mystery at the heart of the universe is an indwelling lure toward dwelling in harmony with the earth. Finally, process philosophy offers the idea that this lure is simultaneously an activity of receptive love and a Deep Listening, in whom all forms of energy are loved on their own terms and for their own sakes.
Naomi Waltham-Smith
- Published in print:
- 2017
- Published Online:
- August 2017
- ISBN:
- 9780190662004
- eISBN:
- 9780190662035
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190662004.001.0001
- Subject:
- Music, History, Western, Philosophy of Music
In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that ...
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In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity. Somewhat counterintuitively perhaps, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights. The book’s theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates about relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions, and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.Less
In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity. Somewhat counterintuitively perhaps, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights. The book’s theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates about relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions, and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.
Philip Fuma
- Published in print:
- 1997
- Published Online:
- September 2011
- ISBN:
- 9780195115703
- eISBN:
- 9780199853144
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195115703.003.0009
- Subject:
- Music, Popular
In 1939, Moss Hart decided to write a play that reflected his new interest “in characters rather than stories.” With that resolve he started in on I Am Listening, a play about a successful career ...
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In 1939, Moss Hart decided to write a play that reflected his new interest “in characters rather than stories.” With that resolve he started in on I Am Listening, a play about a successful career woman, the editor of a fashion magazine, who seeks out psychiatric treatment for traumatic depression. Hart later asked Kurt Weill to help him transform his psychoanalytic play into not a traditional musical but something else—a “play with music.” Hart then sent a telegram to Ira in 1940, outlining his idea for the “play with music,” eventually entitled Lady in the Dark. Ira could see that it offered unique opportunities for lyrical integration. So eager was he to return to work that the usually phlegmatic Ira Gershwin surprised Hart by quickly agreeing to the project.Less
In 1939, Moss Hart decided to write a play that reflected his new interest “in characters rather than stories.” With that resolve he started in on I Am Listening, a play about a successful career woman, the editor of a fashion magazine, who seeks out psychiatric treatment for traumatic depression. Hart later asked Kurt Weill to help him transform his psychoanalytic play into not a traditional musical but something else—a “play with music.” Hart then sent a telegram to Ira in 1940, outlining his idea for the “play with music,” eventually entitled Lady in the Dark. Ira could see that it offered unique opportunities for lyrical integration. So eager was he to return to work that the usually phlegmatic Ira Gershwin surprised Hart by quickly agreeing to the project.
Karin Bijsterveld, Eefje Cleophas, Stefan Krebs, and Gijs Mom
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199925698
- eISBN:
- 9780199350155
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199925698.001.0001
- Subject:
- Music, History, Western, Psychology of Music
Do you enjoy listening to music while driving your car? Do you find radio traffic information indispensable? Do you appreciate the moments in between work and home in which you can listen to or sing ...
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Do you enjoy listening to music while driving your car? Do you find radio traffic information indispensable? Do you appreciate the moments in between work and home in which you can listen to or sing along with whatever you like?This book shows how we created auditory privacy in our Western cars, making it feel sound and safe, even though automobiles were highly noisy things at the beginning of the twentieth century. It explains how engineers in the automotive industry found pride in making car engines quieter once they realized that noise stood for inefficiently running machines. It follows them in struggling with the sounds audible within the car after the automobile had become a closed vehicle. It tells how noise-induced fatigue became an issue once the car became a mass means for touring across the country. It unravels the initial societal concerns about the dangers of car radio, and how radio traffic information became crucial for avoiding traffic jams. And it explores how car drivers once listened to their cars’ engines to diagnose car problems, and are now supposed to buy a car because of its high quality sound design. This book is about the sounds of car engines, tires, wipers, blinkers, warning signals, in-car audio systems and, ultimately, about how we became used to listen while driving.Less
Do you enjoy listening to music while driving your car? Do you find radio traffic information indispensable? Do you appreciate the moments in between work and home in which you can listen to or sing along with whatever you like?This book shows how we created auditory privacy in our Western cars, making it feel sound and safe, even though automobiles were highly noisy things at the beginning of the twentieth century. It explains how engineers in the automotive industry found pride in making car engines quieter once they realized that noise stood for inefficiently running machines. It follows them in struggling with the sounds audible within the car after the automobile had become a closed vehicle. It tells how noise-induced fatigue became an issue once the car became a mass means for touring across the country. It unravels the initial societal concerns about the dangers of car radio, and how radio traffic information became crucial for avoiding traffic jams. And it explores how car drivers once listened to their cars’ engines to diagnose car problems, and are now supposed to buy a car because of its high quality sound design. This book is about the sounds of car engines, tires, wipers, blinkers, warning signals, in-car audio systems and, ultimately, about how we became used to listen while driving.
Ariel Glucklich
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780300212099
- eISBN:
- 9780300231373
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300212099.003.0007
- Subject:
- Sociology, Sociology of Religion
The conversation and the dialogue are key to the practice of Self-inquiry. This chapter records and analyzes this discipline. A special emphasis is placed on the spiritual skills associated with ...
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The conversation and the dialogue are key to the practice of Self-inquiry. This chapter records and analyzes this discipline. A special emphasis is placed on the spiritual skills associated with listening as a contemplative skill.Less
The conversation and the dialogue are key to the practice of Self-inquiry. This chapter records and analyzes this discipline. A special emphasis is placed on the spiritual skills associated with listening as a contemplative skill.
Jennifer Solheim
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781786940827
- eISBN:
- 9781786945082
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940827.003.0001
- Subject:
- Society and Culture, Media Studies
I introduce the call to listen, the term she has coined for the cultural phenomenon in French texts of North African and Middle East origins that portray characters and figures listening as a ...
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I introduce the call to listen, the term she has coined for the cultural phenomenon in French texts of North African and Middle East origins that portray characters and figures listening as a narrative strategy across cultural media to bring forth stories of marginalized experience. I also introduce sounding, the central methodologies in The Performance of Listening, which is situated in Francophone studies, performance studies, and to a smaller degree sound studies. An overview of the social, political, and cultural stakes of these works, which span from the 1960s through 2010, includes Tahar Ben Jelloun, Hélène Cixous, Assia Djebar, Franz Fanon, Michel Foucault, and J.M.G. LeClézio. Issues include feminism, the question and definition of Francophonie, French Republicanism (or universalism), laïcité, mixité, postcolonialism, and subalterity.Less
I introduce the call to listen, the term she has coined for the cultural phenomenon in French texts of North African and Middle East origins that portray characters and figures listening as a narrative strategy across cultural media to bring forth stories of marginalized experience. I also introduce sounding, the central methodologies in The Performance of Listening, which is situated in Francophone studies, performance studies, and to a smaller degree sound studies. An overview of the social, political, and cultural stakes of these works, which span from the 1960s through 2010, includes Tahar Ben Jelloun, Hélène Cixous, Assia Djebar, Franz Fanon, Michel Foucault, and J.M.G. LeClézio. Issues include feminism, the question and definition of Francophonie, French Republicanism (or universalism), laïcité, mixité, postcolonialism, and subalterity.
Penny McCall Howard
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781784994143
- eISBN:
- 9781526128478
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784994143.003.0004
- Subject:
- Anthropology, Anthropology, Global
Chapter Three begins by examining the importance of boats as technologies for living and working at sea - in contrast to a great deal of literature about the sea and fishing that focusses on ...
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Chapter Three begins by examining the importance of boats as technologies for living and working at sea - in contrast to a great deal of literature about the sea and fishing that focusses on human-environment relations only. The chapter draws on Marcel Mauss’ analysis of techniques to ethnographically and phenomenologically examine the way in which boats and other tools are used to extend people’s bodies and sensory perception deep into the sea. As a result of these extensions, the sea is treated as a familiar workspace and caring relationships of maintenance develop between people and their tools and boats. The chapter investigates how human subjectivities and bodily safety are affected by the struggle to remain in control of the extended practices often used to work at sea. This control also depends on the ownership of boats and their gear. The chapter engages with the history of the Scottish herring fishery, the anthropology of the senses, and Lucy Suchman’s and Michael Jackson’s anthropology of human-machine relations. It also draws on anthropologies of labour-action, enskilment and task-orientation by Michael Jackson, Gísli Pálsson, and Tim Ingold.Less
Chapter Three begins by examining the importance of boats as technologies for living and working at sea - in contrast to a great deal of literature about the sea and fishing that focusses on human-environment relations only. The chapter draws on Marcel Mauss’ analysis of techniques to ethnographically and phenomenologically examine the way in which boats and other tools are used to extend people’s bodies and sensory perception deep into the sea. As a result of these extensions, the sea is treated as a familiar workspace and caring relationships of maintenance develop between people and their tools and boats. The chapter investigates how human subjectivities and bodily safety are affected by the struggle to remain in control of the extended practices often used to work at sea. This control also depends on the ownership of boats and their gear. The chapter engages with the history of the Scottish herring fishery, the anthropology of the senses, and Lucy Suchman’s and Michael Jackson’s anthropology of human-machine relations. It also draws on anthropologies of labour-action, enskilment and task-orientation by Michael Jackson, Gísli Pálsson, and Tim Ingold.
Li Wai-shing
- Published in print:
- 2008
- Published Online:
- May 2013
- ISBN:
- 9789622098886
- eISBN:
- 9789882206748
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098886.003.0006
- Subject:
- Education, Educational Policy and Politics
Communication is crucial for good teacher-pupil relationships. This chapter examines the ways of inviting communication which is productive for teacher-pupil relationships, and of inhibiting ...
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Communication is crucial for good teacher-pupil relationships. This chapter examines the ways of inviting communication which is productive for teacher-pupil relationships, and of inhibiting communication, which is not. It goes on to discuss the barriers to communication, such as the use of labelling, preaching and interrogating. The use of "I-messages" is suggested and the associated steps for constructing them are introduced. Also, the chapter discusses the necessary techniques for active listening. By combining good communication and listening skills, teachers can establish rapport and positive teacher-pupil relationships in schools. Various strategies for maintaining relationships are analysed so that teachers can learn how to apply them in their own classrooms.Less
Communication is crucial for good teacher-pupil relationships. This chapter examines the ways of inviting communication which is productive for teacher-pupil relationships, and of inhibiting communication, which is not. It goes on to discuss the barriers to communication, such as the use of labelling, preaching and interrogating. The use of "I-messages" is suggested and the associated steps for constructing them are introduced. Also, the chapter discusses the necessary techniques for active listening. By combining good communication and listening skills, teachers can establish rapport and positive teacher-pupil relationships in schools. Various strategies for maintaining relationships are analysed so that teachers can learn how to apply them in their own classrooms.
Natasha S. Mauthner
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781479833498
- eISBN:
- 9781479842308
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479833498.003.0016
- Subject:
- Sociology, Gender and Sexuality
This chapter suggests that enacting posthumanist performative social science world/knowledge-making projects and practices requires un/re-making social research methods: undoing their humanist ...
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This chapter suggests that enacting posthumanist performative social science world/knowledge-making projects and practices requires un/re-making social research methods: undoing their humanist representationalist enactments, configurations, and genealogies; and assembling posthumanist performative enactments, configurations, and genealogies. At the same time, the un/re-making of method demands un/re-making the very practices of un/re-making method. This chapter seeks to contribute to this project by enacting a posthumanist performative approach to knowing/enacting (the un/re-making of) social research methods through the articulation of two proposed material-discursive practices: “diffractive genealogies” and “metaphysical practices.” These practices are posthumanist performative ways of knowing/enacting social research methods as both objects of study (that can be un/re-made) and agencies of observation (that can be un/remade). They are “diffractive” (Barad 2007; Haraway 1992, 1997) in that they account for the posthumanist performative metaphysics they embody and enact. This posthumanist performative un/re-making of social research methods is illustrated through a case study of Lyn Brown and Carol Gilligan’s (1992) Listening Guide feminist method of narrative analysis.Less
This chapter suggests that enacting posthumanist performative social science world/knowledge-making projects and practices requires un/re-making social research methods: undoing their humanist representationalist enactments, configurations, and genealogies; and assembling posthumanist performative enactments, configurations, and genealogies. At the same time, the un/re-making of method demands un/re-making the very practices of un/re-making method. This chapter seeks to contribute to this project by enacting a posthumanist performative approach to knowing/enacting (the un/re-making of) social research methods through the articulation of two proposed material-discursive practices: “diffractive genealogies” and “metaphysical practices.” These practices are posthumanist performative ways of knowing/enacting social research methods as both objects of study (that can be un/re-made) and agencies of observation (that can be un/remade). They are “diffractive” (Barad 2007; Haraway 1992, 1997) in that they account for the posthumanist performative metaphysics they embody and enact. This posthumanist performative un/re-making of social research methods is illustrated through a case study of Lyn Brown and Carol Gilligan’s (1992) Listening Guide feminist method of narrative analysis.
Sonali Chakravarti
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780226119984
- eISBN:
- 9780226120041
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226120041.003.0007
- Subject:
- Political Science, Political Theory
The chapter suggests than an engagement with anger provides an opportunity for truth commissions to serve as incubators of trust and lay a path for future everyday interactions. The very aspects that ...
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The chapter suggests than an engagement with anger provides an opportunity for truth commissions to serve as incubators of trust and lay a path for future everyday interactions. The very aspects that make anger a challenge for communication should be seen as heightening the possibilities for trust (through mutual risk), but this requires a number of changes from previous iterations of truth commissions, including changes in the institutional engagement with testimony and the expectations of the audience who listen to it. Through the victim’s expression of anger and the audience’s response there is the chance for all parties to show a willingness to bear the risks and dependencies associated with political life.Less
The chapter suggests than an engagement with anger provides an opportunity for truth commissions to serve as incubators of trust and lay a path for future everyday interactions. The very aspects that make anger a challenge for communication should be seen as heightening the possibilities for trust (through mutual risk), but this requires a number of changes from previous iterations of truth commissions, including changes in the institutional engagement with testimony and the expectations of the audience who listen to it. Through the victim’s expression of anger and the audience’s response there is the chance for all parties to show a willingness to bear the risks and dependencies associated with political life.
David Bolton
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780719090998
- eISBN:
- 9781526128546
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719090998.003.0011
- Subject:
- Sociology, Race and Ethnicity
This Chapter seeks to draw together the key messages from the book into a form which the reader can consider, use, adapt or reject, to respond to his or her circumstances. The author shares his own ...
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This Chapter seeks to draw together the key messages from the book into a form which the reader can consider, use, adapt or reject, to respond to his or her circumstances. The author shares his own conclusions from the work he and colleagues - and others - have done in relation to Northern Ireland and the years of violence and conflict. The importance of planning with an informed perspective on the impact of major traumatic stressors (such as conflict) on communities is discussed. Also the the contribution of leadership, ritual, politics, therapy, peace making, and the central importance of listening to victims and survivors. Again the author highlights the need to bring considerations about the mental health impact and burden of war and conflict into the early stages of the peace project, when wars and conflicts are being brought to an end.Less
This Chapter seeks to draw together the key messages from the book into a form which the reader can consider, use, adapt or reject, to respond to his or her circumstances. The author shares his own conclusions from the work he and colleagues - and others - have done in relation to Northern Ireland and the years of violence and conflict. The importance of planning with an informed perspective on the impact of major traumatic stressors (such as conflict) on communities is discussed. Also the the contribution of leadership, ritual, politics, therapy, peace making, and the central importance of listening to victims and survivors. Again the author highlights the need to bring considerations about the mental health impact and burden of war and conflict into the early stages of the peace project, when wars and conflicts are being brought to an end.
Faith Lawrence
- Published in print:
- 2015
- Published Online:
- September 2017
- ISBN:
- 9780748696000
- eISBN:
- 9781474422284
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748696000.003.0003
- Subject:
- Literature, Women's Literature
This is an exploration of Kathleen Jamie’s ‘poetics of listening’, a consideration of the importance of ‘listening' within her poetic practice. A 'poetics of listening' is compared with the notion ...
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This is an exploration of Kathleen Jamie’s ‘poetics of listening’, a consideration of the importance of ‘listening' within her poetic practice. A 'poetics of listening' is compared with the notion that a poet must first and foremost ‘find their voice’. Close examination of Jamie's poems suggests that the stance of the ‘listener’ is one which allows the poet to encounter the non-human on equal terms, but which also offers a solution to the ethical question ‘why should I write?’. Jamie has been called a ‘supreme listener’, and listening encounters pervade her work. The value she places on ‘attention’ is shown to have a connection with her interest in the oeuvre of Rainer Maria Rilke. It is also argued that in Jamie's work, learning to listen is a way to live with, rather than protest our impermanence.Less
This is an exploration of Kathleen Jamie’s ‘poetics of listening’, a consideration of the importance of ‘listening' within her poetic practice. A 'poetics of listening' is compared with the notion that a poet must first and foremost ‘find their voice’. Close examination of Jamie's poems suggests that the stance of the ‘listener’ is one which allows the poet to encounter the non-human on equal terms, but which also offers a solution to the ethical question ‘why should I write?’. Jamie has been called a ‘supreme listener’, and listening encounters pervade her work. The value she places on ‘attention’ is shown to have a connection with her interest in the oeuvre of Rainer Maria Rilke. It is also argued that in Jamie's work, learning to listen is a way to live with, rather than protest our impermanence.
