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.
Peter R. Schmidt and Alice B. Kehoe (eds)
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780813056241
- eISBN:
- 9780813058054
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056241.001.0001
- Subject:
- Archaeology, Historical Archaeology
Archaeologies of Listening provides a fresh and bold look at how archaeologists and heritage managers may enhance their capacity to interpret and understand material culture and heritage values. By ...
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Archaeologies of Listening provides a fresh and bold look at how archaeologists and heritage managers may enhance their capacity to interpret and understand material culture and heritage values. By listening closely to indigenous voices and to those who have long-term relationships with the landscape, deeper empirical understandings are brought to interpretations. Drawing on the founding principles of anthropology, Archaeologies of Listening demonstrates the value of cultural apprenticeship, an almost forgotten part of archaeological practice. The authors argue that epistemic humility is central to creating relationships of equality and mutuality, critical components in an anthropological archaeology that overcomes a narrowly scientific approach. By embracing a humanistic perspective with people-centric practice and ethics, this volume points the way to reawakening the core principles of anthropology in community archaeology and heritage studies.Less
Archaeologies of Listening provides a fresh and bold look at how archaeologists and heritage managers may enhance their capacity to interpret and understand material culture and heritage values. By listening closely to indigenous voices and to those who have long-term relationships with the landscape, deeper empirical understandings are brought to interpretations. Drawing on the founding principles of anthropology, Archaeologies of Listening demonstrates the value of cultural apprenticeship, an almost forgotten part of archaeological practice. The authors argue that epistemic humility is central to creating relationships of equality and mutuality, critical components in an anthropological archaeology that overcomes a narrowly scientific approach. By embracing a humanistic perspective with people-centric practice and ethics, this volume points the way to reawakening the core principles of anthropology in community archaeology and heritage studies.
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.
Simon J. Potter
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198800231
- eISBN:
- 9780191840036
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198800231.001.0001
- Subject:
- History, Cultural History, World Modern History
During the 1920s and 1930s radio was transnational in its reach and appeal, attracting distant listeners and encouraging hopes that broadcasting would foster international understanding and world ...
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During the 1920s and 1930s radio was transnational in its reach and appeal, attracting distant listeners and encouraging hopes that broadcasting would foster international understanding and world peace. As a new medium, radio broadcasting transmitted speech, music, news, and a range of exotic and authentic sounds across borders to reach audiences in other countries. In Europe radio was regulated through international consultation and cooperation to restrict interference between stations and to unleash the medium’s full potential to carry programmes to global audiences. A distinctive form of ‘wireless internationalism’ emerged, reflecting and reinforcing the broader internationalist movement and establishing structures and approaches which endured into the Second World War, the Cold War, and beyond. Distant listeners, meanwhile, used new technologies and skills to overcome unwanted noise, tune in as many stations as possible, and comprehend and enjoy what they heard. The BBC and other international broadcasters sought to produce tailor-made programmes for audiences overseas, encouraging feedback from listeners and using it to inform production decisions. The book revises our understanding of early British and global broadcasting, and of the BBC Empire Service (the precursor to today’s World Service), and shows how government influence shaped early BBC international broadcasting in English, Arabic, Spanish, and Portuguese. It also explores the wider European and global context, demonstrating how fascism in Italy and Germany, the Spanish Civil War, and the Japanese invasion of China, combined to overturn the utopianism of the 1920s and usher in a new era of wireless nationalism.Less
During the 1920s and 1930s radio was transnational in its reach and appeal, attracting distant listeners and encouraging hopes that broadcasting would foster international understanding and world peace. As a new medium, radio broadcasting transmitted speech, music, news, and a range of exotic and authentic sounds across borders to reach audiences in other countries. In Europe radio was regulated through international consultation and cooperation to restrict interference between stations and to unleash the medium’s full potential to carry programmes to global audiences. A distinctive form of ‘wireless internationalism’ emerged, reflecting and reinforcing the broader internationalist movement and establishing structures and approaches which endured into the Second World War, the Cold War, and beyond. Distant listeners, meanwhile, used new technologies and skills to overcome unwanted noise, tune in as many stations as possible, and comprehend and enjoy what they heard. The BBC and other international broadcasters sought to produce tailor-made programmes for audiences overseas, encouraging feedback from listeners and using it to inform production decisions. The book revises our understanding of early British and global broadcasting, and of the BBC Empire Service (the precursor to today’s World Service), and shows how government influence shaped early BBC international broadcasting in English, Arabic, Spanish, and Portuguese. It also explores the wider European and global context, demonstrating how fascism in Italy and Germany, the Spanish Civil War, and the Japanese invasion of China, combined to overturn the utopianism of the 1920s and usher in a new era of wireless nationalism.
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.
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.
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.
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.
Julian Murphet
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474416368
- eISBN:
- 9781474434591
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474416368.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
Around the beginning of the twentieth century, there emerged an increasingly prevalent literary trope of a sound that cannot (or should not) be heard. This trope had its correlates in contemporary ...
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Around the beginning of the twentieth century, there emerged an increasingly prevalent literary trope of a sound that cannot (or should not) be heard. This trope had its correlates in contemporary science and astrophysics, where the universe’s ‘background hum’ was conceptualized to make sense of the persistent radio static that scanners had made audible for the first time. But it also had a background in the literary tradition: Keats’ ‘spirit ditties of no tone’, Kleist’s ‘St Cecelia’s Day’, even the plugging of the oarsmen’s ears in Homer’s Odyssey. This chapter considers the proliferation of this trope in light of contemporary research into sound theory and the instrumentalization of sense perception in modernity, before turning more pointedly to think through the repercussions of Lacan’s il n’y a de cause que ce qui cloche in relation to ontology and the history of listening. It then examines in some detail the two writers – Kafka and Lovecraft – who, more than any others, sought a literary aesthetic adequate to grappling with this sound that cannot or should not be heard.Less
Around the beginning of the twentieth century, there emerged an increasingly prevalent literary trope of a sound that cannot (or should not) be heard. This trope had its correlates in contemporary science and astrophysics, where the universe’s ‘background hum’ was conceptualized to make sense of the persistent radio static that scanners had made audible for the first time. But it also had a background in the literary tradition: Keats’ ‘spirit ditties of no tone’, Kleist’s ‘St Cecelia’s Day’, even the plugging of the oarsmen’s ears in Homer’s Odyssey. This chapter considers the proliferation of this trope in light of contemporary research into sound theory and the instrumentalization of sense perception in modernity, before turning more pointedly to think through the repercussions of Lacan’s il n’y a de cause que ce qui cloche in relation to ontology and the history of listening. It then examines in some detail the two writers – Kafka and Lovecraft – who, more than any others, sought a literary aesthetic adequate to grappling with this sound that cannot or should not be heard.
Helen Groth
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474416368
- eISBN:
- 9781474434591
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474416368.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
Writing in 1932, Christina Stead described the disappointing experience of listening to ‘a gramophone record of James Joyce the English litterateur, reading from his own works, a rare thing costing ...
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Writing in 1932, Christina Stead described the disappointing experience of listening to ‘a gramophone record of James Joyce the English litterateur, reading from his own works, a rare thing costing 200 francs’. The recording Stead was listening to was Joyce’s reading of the ending of the Anna Livia Plurabelle section of Finnegans Wake, a double-sided 12-inch gramophone disc made at C. K. Ogden’s Orthological Institute in 1929. T. S. Eliot, in contrast to Stead, responded positively to the recording expressing the hope that recordings of authors’ voices would soon supplant printed editions of their work. That Eliot’s hope was never realised suggests that many shared Stead’s disappointment. Hearing rather than reading Finnegans Wake only intensified its unsettling affects for Stead, and exposed the technical limitations of the gramophone as a means of enhancing literary experience. This chapter considers Stead’s dilemma as a listener to and reader of Joyce as an exemplary instance of the way early gramophone recordings of modernist texts only served to heighten the experience of modernism’s inaccessibility to the readers that Eliot had hoped it would engage.Less
Writing in 1932, Christina Stead described the disappointing experience of listening to ‘a gramophone record of James Joyce the English litterateur, reading from his own works, a rare thing costing 200 francs’. The recording Stead was listening to was Joyce’s reading of the ending of the Anna Livia Plurabelle section of Finnegans Wake, a double-sided 12-inch gramophone disc made at C. K. Ogden’s Orthological Institute in 1929. T. S. Eliot, in contrast to Stead, responded positively to the recording expressing the hope that recordings of authors’ voices would soon supplant printed editions of their work. That Eliot’s hope was never realised suggests that many shared Stead’s disappointment. Hearing rather than reading Finnegans Wake only intensified its unsettling affects for Stead, and exposed the technical limitations of the gramophone as a means of enhancing literary experience. This chapter considers Stead’s dilemma as a listener to and reader of Joyce as an exemplary instance of the way early gramophone recordings of modernist texts only served to heighten the experience of modernism’s inaccessibility to the readers that Eliot had hoped it would engage.
Kristin Grogan
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474416368
- eISBN:
- 9781474434591
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474416368.003.0011
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter explores the sonic possibilities of the Chinese characters in Ezra Pound’s late cantos. Specifically it examines how Pound understood Chinese sound in his late career, and traces what he ...
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This chapter explores the sonic possibilities of the Chinese characters in Ezra Pound’s late cantos. Specifically it examines how Pound understood Chinese sound in his late career, and traces what he did with this new understanding in the late cantos. Despite Pound’s enthusiasm for Chinese sound, critics have tended to approach the characters as silent, static material forms, unable to be sounded by the reader, which are antithetical to the lyrical elements of the late cantos and obstruct the poem’s prosodic flow. Arguing against the understanding of the ideograms as merely ‘silent’ objects, this chapter traces how the characters both communicate with and shape the poem’s rhythm and prosody, and what this, in turn, means for Pound’s reader. In doing so, it examines the unstable but productive interchange between graphic and phonetic signification in the late cantos, between image and sound, and explores what a fuller understanding of Pound’s late rehabilitation of Chinese sound might mean for our understanding of the problematic final stages of Pound’s epic.Less
This chapter explores the sonic possibilities of the Chinese characters in Ezra Pound’s late cantos. Specifically it examines how Pound understood Chinese sound in his late career, and traces what he did with this new understanding in the late cantos. Despite Pound’s enthusiasm for Chinese sound, critics have tended to approach the characters as silent, static material forms, unable to be sounded by the reader, which are antithetical to the lyrical elements of the late cantos and obstruct the poem’s prosodic flow. Arguing against the understanding of the ideograms as merely ‘silent’ objects, this chapter traces how the characters both communicate with and shape the poem’s rhythm and prosody, and what this, in turn, means for Pound’s reader. In doing so, it examines the unstable but productive interchange between graphic and phonetic signification in the late cantos, between image and sound, and explores what a fuller understanding of Pound’s late rehabilitation of Chinese sound might mean for our understanding of the problematic final stages of Pound’s epic.
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.
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.
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.
