Situated Listening sets forth a collection of novel methodologies and creative proposals for listening, advancing the framework of situated listening as both a theoretical concept and a methodological practice.
Situated Listening sets forth a collection of novel methodologies and creative proposals for listening, advancing the framework of situated listening as both a theoretical concept and a methodological practice.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Stephanie Loveless is a media artist whose research centres on practices of listening. She is Senior Lecturer in Arts, Director of the Center for Deep Listening at Rensselaer Polytechnic Institute, and editor of A Year of Deep Listening: 365 Text Scores for Pauline Oliveros. Tullis Rennie is a composer, improviser, recordist, and researcher in socially engaged sound practices. His creative work encompasses audio composition, installation, participative community projects and live/improvised performances presented in over 20 countries. He is Senior Lecturer in Music at City St George's, University of London. Morten Søndergaard is an internationally acclaimed curator and associate professor at Aalborg University, Denmark. Head curator at Momentum Biennial 2025 and founder of the conference series POM - Politics of the Machines. He has published on sound- and media art and curated exhibitions including ZKM, Eyebeam, and Roskilde. Freya Zinovieff is currently completing her PhD at Simon Fraser University, and she holds a first-class honours degree from Cambridge School of Art, and an MFA from University of New South Wales. Her work critically examines the intersections of sound and violence.
Inhaltsangabe
Part 1: Methodologies of Listening 1. Listening to Noise: Lines of Affinity and Feminist Sono-Techno-Political artivisms from the South 2. Listening to our Listening: Deep Listening in Critical Sites 3. Unlistening 4. Listening With, or the Impossibility of Inhabiting Another's Ears 5. The weak power of listening: a conversation between Ayreen Anastas, Rene Gabri and Rolando Vázquez Part 2: Apparatuses of Listening 6. Audible Ghosts 7. Technologies, Precariousness and Coloniality 8. Addressing Deep Code Problems: Listening to Opera Through the World's Liveness 9. Endarkened Listening 10. Amplified States: Listening as Coming to Know Part 3: Cultures of Situated Listening 11. The Sound of Hate: White Nationalist Epistemology and Neo Nazi Nation Building on Telegram 12. Mythic Sonic Beings: A Multitrack Conversation 13. The Sonic Sensorium. Listening with the un(der)heard 14. Transperceptive Listening: Sonic Meditations for a Pluriverse 15. Collaborative composition: An exchange of sounding
Part 1: Methodologies of Listening 1. Listening to Noise: Lines of Affinity and Feminist Sono-Techno-Political artivisms from the South 2. Listening to our Listening: Deep Listening in Critical Sites 3. Unlistening 4. Listening With, or the Impossibility of Inhabiting Another's Ears 5. The weak power of listening: a conversation between Ayreen Anastas, Rene Gabri and Rolando Vázquez Part 2: Apparatuses of Listening 6. Audible Ghosts 7. Technologies, Precariousness and Coloniality 8. Addressing Deep Code Problems: Listening to Opera Through the World's Liveness 9. Endarkened Listening 10. Amplified States: Listening as Coming to Know Part 3: Cultures of Situated Listening 11. The Sound of Hate: White Nationalist Epistemology and Neo Nazi Nation Building on Telegram 12. Mythic Sonic Beings: A Multitrack Conversation 13. The Sonic Sensorium. Listening with the un(der)heard 14. Transperceptive Listening: Sonic Meditations for a Pluriverse 15. Collaborative composition: An exchange of sounding
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