The Body in Sound, Music and Performance: Studies in Audio and Sonic Arts

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Contributors
Illustrations
Introduction
Working With Women On Sound
The Idea of the Book
Our Authors
A Note On the Times of Writing
Notes
Bibliography
Part I New Epistemologies of Sound
1 Forces at Play
Reflection: Notes From the Inside
Thinking With Others – 1
Reflection: From the Inside Looking Out
Thinking With Others – 2
Reflection: Sitting On the Outside – Experience 1
Thinking With Others – 3
Reflection: Sitting On the Outside – Experience 2
Thinking With Others – 4
Connecting It All Together
Notes
Bibliography
2 Why Should We Care About the Body?: On What Enactive-Ecological Musical Approaches Have to Offer
What Enactive-Ecological Accounts Afford
Social Cognition, Care, and Musicking
Mediation and Technology
Conclusion
Notes
Bibliography
3 Under Mar Paradoxo (Paradox Sea) and Coastal Silences
Notes
Bibliography
Part II Gendered Sounds, Spaces, and Places
4 Deep Situated Listening Among Hearing Heads and Affective Bodies
Introduction
Passivity and Empowerment
The EAM Concert as a “Plane of Immanence”
A Feminist Perspective
Deep Situated Listening
Situated Listening and What to Do With Passion and Passiveness
Concluding Remarks
Acknowledgments
Notes
Bibliography
5 The Field Is Mined and Full of “Minas”: Women’s Music in Paraíba – Kalyne Lima and Sinta A Liga Crew
Contextualizing the Subject
Hip Hop Is Also a North-Eastern Woman’s Thing
Campo Minado (Minefield)
Some Considerations
Notes
Bibliography
6 Working With Womens Work: Towards the Embodied Curator
Prologue: Unboxing Oliveros
Exhibition as (Lively) Expanded Publishing
Slow Runner
Words to Be Looked at and Actions to Be Performed
ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE
Live Materials: the Workshop as Curatorial Format
Hosting Live Social Volumes: Towards the Embodied Curator
Notes
Bibliography
7 Tejucupapo Women: Sound Mangrove Bodies and Performance Creation
Warning-manifesto
Tejucupapo in Prelude
Artethnography in Three Movements and an Interlude
Movement I: Sounds and Bodies of the Mangrove Forest
Movement II: Sounds and Bodies of the Festivities
Movement III: Sounds and Bodies of the Theater
Interlude
Epilogue: Network of Practices for Performance Creation
Notes
Bibliography
Part III New Methodologies in Sound Art and Performance Practice
8 Looking for Silence in the Body
Body and Performance
Looking for Silence
Dance as a Witness.
Notes
Bibliography
9 Our Body in #sonicwilderness & #soundasgrowing
Outro
Notes
10 What Makes the Wolves Howl Under the Moon?: Sound Poetics of Territory-Spirit-Bodies for Well-Living
#experiment: The Lunar Howls of Wolves
Wolves # Diary: the Oracle of the Goddesses – the Cards
#The Oracle of the Goddesses: The Cards
#Dancing With the Goddess Shakti – Energy
# Praying to the Goddess
#Breathing Out
# Wolves # Writings # Break
Notes
Bibliography
11 Dispatches: Cartographing and Sharing Listenings
Invention and Sharing of Listening
Dispatching Listening
Fiction-score
Dispatches, a Proposition for Sharing Listening
fundamentals
dynamic of the Conversation
ethics of the Conversation
suggestions to Share Listening
Two Affective Reports From Listening
The First Affective Report
The Second Affective Report
Making Our Own Listenings Audible
Notes
References
12 Applying Feminist Methodologies in the Sonic Arts: Listening to Brazilian Women Talk About Sound
Introduction
Sound and Gender
Developing Our Methods
What Makes a Feminist Methodology?
Soundwalking as a Feminist Methodology
Working With Women in Porto Alegre
Engaging With Women Across Brazil
Conclusion
Notes
Bibliography
Part IV The Body Technology
13 The Sensuality of Low Frequency Sound
Introduction
Low Frequency Sound and the Sonic Body
Power-Induced Sensuality in the Work of Thembi Soddell
The Delicate Sensuality of Low Frequency in the Work of Marina Rosenfeld
Timbral Sensuality in My Own Compositions
Conclusion
Notes
Bibliography
14 Cynosuric Bodies
Introduction
Hand as Body
Body as Pieces
Pieces as Practice
Inter-Act
Flesh/Light/Movement
Locus
III: Once Removed
Audimance
Manifesto
Acknowledgements
Bibliography
15 The Violining Body in Anthèmes II By Pierre Boulez
Introduction
The Electrified-Violining-Body
The Body Mixed in Practice
Projection and Dynamic Differentiation
Accents – Onsets
Haptic Gap
Conclusion
Notes
Bibliography
16 “Try to Walk With the Sound of My Footsteps So That We Can Stay Together”: Sonic Presence and Virtual Embodiment in …
Notes
Bibliography
17 Breathing (As Listening): An Emotional Bridge for Telepresence
In Search of an Interface
INTIMAL
Listening Deeply to Colombian Women’s Migration
Understanding Body Movement in a Migratory Journey
Design and Implementation of the INTIMAL “Embodied” Physical-Virtual System for Relational Listening
Breathing in the INTIMAL Performance: an Emotional Bridge for Telepresence
Breathing as Chora
Back to the Interface, in 2020
Acknowledgements
Notes
References
18 Foley Performance and Sonic Implicit Interactions: How Foley Artists Might Hold the Secret for the Design of Sonic …
Introduction
A Note About Acting
The Body, Acting and Foley Artistry
From Low Tech to High Tech: Foley Artists as Designers of Sonic Implicit Interactions
Conclusion
Note
Bibliography
Index