Sonic engagement : the ethics and aesthetics of community engaged audio practice /: the ethics and aesthetics of community engaged audio practice. (2022)

• Record Type: Book
• Further Information: Note: Edited by Sarah Woodland and Wolfgang Vachon.
• Editors: Woodland, Sarah; Vachon, Wolfgang
• Contents: List of Figures List of Contributors Introduction: Distilling an Interdisciplinary Approach Sarah Woodland and Wolfgang Vachon PART 1 First Knowledges First Introduction 1. Bu’ra’nga’man | Dadirri | Yimbilli: Echoes of Listening to Country Bianca Beetson, Vicki Saunders, Sarah Woodland, and Leah Barclay PART 2; Sonic Knowing: Meaning and Resonance Introduction 2. Audio drama inquiry: A telling method of research Wolfgang Vachon 3. What does a cellphilm (cellphone + film production + intention) sound like? The ethics and aesthetics of cellphilm method Casey Burkholder and Katie MacEntee 4. Composing place: Creating participatory sound portraits and compilations Maureen Flint, Morgan Shiver and Ryanne Whyte 5. The radio play as restorative justice education: A creative collaboration between a grassroots organisation and artists Tanyss Knowles and Frank J. Tester PART 3 Sonic Assembly: Building Communities and Publics Introduction 6. More-than-social listening: Undercover engagements and undoing auditory norms Jill Halstead and Brandon LaBelle 7. Reinscribing the noise: New media walk technologies and the politics of community engagement Christos Carras and Eric Lewis 8. Hyper-listening and co-listening: Reflections on sound, selfhood, and solidarity Budhaditya Chattopadhyay 9. I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and culture Vadim Keylin PART 4 Sonic Disruptions: Creating Auditory Counter-Narratives Introduction 10. Sound travels faster over water: Sonically re-designing institutional aural architecture with The Verbatim Formula Maggie Inchley and Sylvan Baker 11. Yellow Couch Convos Podcast series: Navigating identity politics through collective voices and counternarratives Rosemary (Rosa) Cisneros 12. Many Worlds in One Place: Composition as a Site of Encounter Toby Young 13. Odyssey on the airwaves: A journey from HMP to hope Gary Anderson and Niamh Malone PART 5 Sonic Resistance: Soundscapes of Protest and Activism Introduction 14. Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and Mexico Leah Barclay 15. Aural counterpublic resistance: Noise, silence, and acoustical agency in protest tactics Nimalan Yoganathan 16. Street hassle: Noise, art, and activism Mitchell Akiyama, in conversation with Don’t Rhine and Syrus Marcus Ware Concluding Acknowledgement Index List of Contributors Mitchell Akiyama is a Toronto-based scholar, composer, and artist. His eclectic body of work includes writings about sound, metaphors, animals, and media technologies; scores for film and dance; and objects and installations that trouble received ideas about history, perception, and sensory experience. He is an Assistant Professor of Visual Studies at the University of Toronto. Gary Anderson, Associate Professor of Drama at Liverpool Hope University, publishes on performance and its relationship to Spinozism. His most recent publication is ‘Laruelle prefers heresy to revolution: Non-philosophy and live art’ in Art Disarming Philosophy: Non-Philosophy and Aesthetics (Rowman and Littlefield), edited together with Niamh Malone. Sylvan Baker is a Senior Lecturer in Applied Theatre at the Royal Central School of Speech and Drama. He is co-founder and Co-investigator of TVF, and also of the Medical Research Council funded Re-Star, a multi-disciplinary practice research project working to support the mental wellbeing of neurodiverse young people. Leah Barclay is a sound artist, designer, and acoustic ecologist whose work investigates the value of acoustic ecology as a socially engaged interdisciplinary practice. She is the Discipline Lead of Design at the University of the Sunshine Coast, Australia and Vice President of the World Forum for Acoustic Ecology. Casey Burkholder (she/her) is an Associate Professor at the University of New Brunswick’s Faculty of Education. Her research program centres on work with 2SLGBTQ+ youth and pre-service teachers to agitate for social change through participatory visual research approaches. Casey’s recent research and projects can be seen at https://caseyburkholder.com Bianca Beetson (Gubbi Gubbi/Kabi Kabi) is a visual artist, curator, and arts leader with a background in community engaged arts practice. She is Director of the Indigenous Research Unit at Griffith University, Australia, and is a member of the Board and Indigenous Advisory Panel for the Queensland Art Gallery and Gallery of Modern Art. Christos Carras studied philosophy at Cambridge and the Sorbonne. He is the executive director of the Onassis Stegi (Athens) and an independent researcher focusing on contemporary sonic art, digital technologies in cultural production, the role of art within broader networks and fields, and the politics of cultural production and consumption. Budhaditya Chattopadhyay is an artist, media practitioner, researcher, and writer, holding a PhD in sound studies from Leiden University, and an MA in New Media from Aarhus University. He is the author of three books, The Nomadic Listener (2020), The Auditory Setting (2021), and Between the Headphones (2021). https://budhaditya.org/ Rosemary (Rosa) Kostic Cisneros is a researcher, dancer, choreographer and curator who works closely with the RomArchive and many NGOs. She is leading various EU-funded projects which aim to make education accessible to vulnerable groups and ethnic minorities, and coordinating cultural heritage projects that bring dance and digital technologies together. Maureen Flint is Assistant Professor in Qualitative Research at the University of Georgia. Maureen’s research centers the theory, practice, and pedagogy of qualitative methodologies, artful inquiries, and questions of social (in)justice in higher education. She graduated with a PhD in Educational Research from the University of Alabama in 2019. Jill Halstead is a feminist researcher and composer. Her publications center on the body politics of musical creativity and participation. She is Professor at the Grieg Academy, University of Bergen and leader of the Grieg Research School in Interdisciplinary Music Studies, a regional consortium of five universities located on the west coast of Norway. Maggie Inchley is a Senior Lecturer in Drama at Queen Mary University of London. She researches cultural audibility and the intersectional and aesthetic aspects of vocal performance. Inchley is Principal Investigator of the AHRC funded practice-based research project, The Verbatim Formula (TVF), which explores systems of education and care with care-experienced young people: http://www.theverbatimformula.org.uk. Vadim Keylin is a sound art scholar and poet. He holds a PhD from Aarhus University and is currently a postdoc at the University of Hamburg, working on research into sound poetry in digital culture. He has previously published articles on experimental musical instruments, sound sculptures and participatory sound art. Tanyss Knowles holds a Master of Social Work from the University of British Columbia and a Bachelor of Arts in Anthropology from Simon Fraser University. She is a board member of The Vancouver Associat
• Edition: 1st
• Publisher Details: London : Routledge
• Publication Date: 2022
• Extent: 1 online resource
• Subjects: 701.03; Performing arts -- Social aspects; Music -- Social aspects; Sound -- Social aspects; Community arts projects
• Languages: English
• ISBNs: 9781000780529; 9781000780420
• Related ISBNs: 9780367758387; 9780367758370
• Notes: Note: Includes bibliographical references and index.; Note: Description based on CIP data; resource not viewed.
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.