Research Catalogue

an international database for artistic research

• 27. Issue 27 Issue 27

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  Editorial: Designing Our Sonic Lives (2018) author(s): Vincent Meelberg published in: Journal of Sonic Studies
  Long ago, the mice held a council to discuss how to outwit their common enemy, the Cat. The mice knew that the Cat was sly and that she always approached them quietly, and they were frightened by these sudden encounters. After long discussions, one young and enthusiastic mouse raised his hand and proposed: “All we need is a sign that the Cat is around,” and continued, “Let’s fasten a bell round the neck of the Cat. This way, we’ll be warned by the jingling sound and have enough time to reach our holes before the Cat reaches us.” This proposal was met with cheers, until an old skeptical mouse asked, “But, who is to bell the Cat?”
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  TOUCHING AS LISTENING: PULSE PROJECT (2018) author(s): Michelle Lewis-King published in: Journal of Sonic Studies
  Pulse Project (2011 - ) is a performance series exploring the social interfaces between self and other, art and science, contemporary western music composition and traditional Chinese medicine. This performance-study series aims to interrogate the axioms that underpin contemporary medicine and digital technology through the exploration of its corollary “other” - traditional Chinese medicine and music theory - in order to generate a new approach to embodiment and soundscape composition.
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  ADVENTURES IN SONIC FICTION: A HEURISTIC FOR SOUND STUDIES (2018) author(s): Holger Schulze published in: Journal of Sonic Studies
  This article presents Kodwo Eshun's concept of sonic fiction as an advanced and adequate methodological approach to sound studies. The references of More Brilliant Than The Sun (Eshun 1998) to afrofuturism and their methodological elaboration in Steve Goodman's Sonic Warfare (Goodman 2010) are discussed – as well as the strong epistemological connections to Michel Serres' reflections in his anthropology of the senses. Finally, this article explores the historical ramifications of the concept of sonic fictions in Alexander Baumgarten's concept of an aesthetic heuristic and ends with an enumeration of ten criteria for the methodological application of sonic fiction.
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  CAUGHT IN THE CURRENT: WRITING ETHNOGRAPHY THAT LISTENS (2018) author(s): Justin Patch published in: Journal of Sonic Studies
  In Listening (2002) Jean-Luc Nancy proposes a philosophy that listens, one that does not arrive at static, definitive conclusions but continuously resonates and remains open. This essay conceptualizes an ethnography that listens by putting Nancy’s thinking into play with texts that philosophically critique writing from different angles. By examining concepts of voice, speaking, the author, listening, and open work within writing practices, a polyvocal, nomadic concept of writing that listens emerges and points in many potential directions. One line of flight leads to ethnography, where the conflicts inherent in textualizing human representation continue to be examined and experimented with. In the second half of this essay, I propose one of many possible approaches to an ethnography that listens: ethnography of spin. In conscientiously, honestly, and openly writing the experience of getting spun – an integral part of mediated everyday experience in modernity – we offer texts that listen, resonate, echo, and can be transformed, remixed and re-mastered.
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  HISTORY AND ITS ACOUSTIC CONTEXT: SILENCE, RESONANCE, ECHO AND WHERE TO FIND THEM IN THE ARCHIVE (2018) author(s): Maarten Walraven published in: Journal of Sonic Studies
  Listening to history requires the historian to compose sonic events from the archive. This essay explores how Audible History has developed since Alain Corbin’s ground-breaking Village Bells. The listening historian has broadened the scope of social and cultural history by rearranging existing and creating new narratives. However, historians need to go beyond interrogating the earwitnesses of aural cultures. They need to listen to sounds-as-objects and the acoustic context of events. Three concepts are introduced to develop a methodology for this: 1) silence, which is the silence of the archive as well as the role silence played in history’s sonic register; 2) resonance, which demonstrates the way that resonances between people and their environment and among people created community; 3) echo, as a concept that allows for the objectification of sounds at the same time that it attends to the origins of sounds-as-objects.
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  OA#1: LISTENING AND MAPPING THE SONIC. PLURALITY AND WAYFARING: WRITING THE OPENSOUND PROJECT (2018) author(s): J. Milo Taylor published in: Journal of Sonic Studies
  Wayfaring, I believe, is the most fundamental mode by which living beings, both human and non-human, inhabit the earth. By habitation I do not mean taking one’s place in a world that has been prepared in advance for the populations that arrive to reside there. The inhabitant is rather one who participates from within in the very process of the world’s continual coming into being and who, in laying a trail of life, contributes to its weave and texture. (Ingold 2007: 81)
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