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.
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.
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.
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.
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.
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.
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.
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.
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.
