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In our response to "Deliberating Public Policy Issues with Adolescents," we address the matter that students seem to be reluctant to changing their minds, opinions, and initial positions in classroom deliberations and instead see such deliberations as an opportunity to perform and publicly announce their preexisting views. We argue that this calls for an increased focus on teaching students how to listen to each other and that such a focus should come in the form of teaching them apophatic listening. We also propose pedagogical practices that could be used for teaching students this particular deliberative skill.

This paper is written through the combined experience of my own artistic practice and periods of immobility during 2010-2011. With it, I aim to draw attention towards physical, mental and political states of stillness and absorption. I will show how a period of relative physical stasis impacted upon my own practice and prompted a counter project to the now dominant methodology of soundwalking. Through personal reflection, I will demonstrate how walking is not always an entitled right; how class, gender and geopolitical forces impact upon a walk; and how the methodology itself may even perpetuate a culture of pursuit and entrapment. In doing so, the paper re-evaluates the politics and aesthetics of soundwalking whilst optimistically proposing listening as a form of walking.

A Manifesto for New Listening (or 20 thought about Listening) is an ongoing work that seeks to question the politics and aesthetics of listening. In particular, it queries five specific aspects of listening as it is formulated within current sound arts practice. The first is the idea that listening is a solitary activity best done alone, removed from society (for better listening) and accompanied by technology (also for better listening). The second is that you have to be taught how to listen 'properly' by an 'expert'. The third is that listening is always a good thing – we should listen and listen well with full attention. The fourth is that listening is an equal playing field unaffected by our individual subjective positions – for example by our gender, our racial identity, our nationality or our class. The fifth is that almost everything needs to be listened to very closely and attentively – except people (see the first).

Talk given as part of 'Political Aesthetics in Sound Art: Gender and Feminism' at Sonic Waterloo festival , IK L E C T I K, Old Paradise Yard' 20 Carlisle Lane, SE1 7LG

Focusing on local politics in the Meuse-Rhine Euregion, this report investigates the interaction between citizens and local politicians in four municipalities: Riemst (Belgium, Flanders), Visé (Belgium, Wallonia), Übach-Palenberg (Germany) and Valkenburg aan de Geul (Netherlands). The purpose of the research project is to bring new insights into the interaction between citizens and local politicians and the expectations of citizens about that interaction. Therefore, this report analyses the experiences of citizens with politicians (including the mayor) at local government level, using Easton's (1965) model of the political system and Denters' (2013) models for the role of elected representatives.The research was conducted in the framework of the Marble (Maastricht Researched Based Learning for Excellence) programme, open for highly motivated and excellent undergraduate students. The structured interviews with the citizens were conducted in April and May 2016.Overall, this research finds that, despite some differences between the four municipalities in terms of the relationship between citizens and local politicians, most citizens contact their local politicians for a concrete problem affecting them. Citizens expect politicians to help them with these issues. On the other hand, citizens expect politicians to approach them to ask for input in the decision-making process. These expectations fit best with the politicians' role of trustee and democratic watchdog as defined by Denters (2013). Local politicians do not completely fulfil these expectations yet. They should engage with citizens more often to ask for their input or to explain council decisions (output). As an approach to tackle this issue and facilitate effective communication, this paper proposes implementing "tailored" communication modes, based on the different target groups.This research is complementary to the 2015 study by Peters et al., which focused on the experiences and expectations of local politicians in the same four municipalities in the Meuse-Rhine Euregion.

My work lives in the world of trees, lakes, oceans, sunrises, starlight, hurricanes, and mountains, the world centered on the rumbling sounds of the earth and water, the quiet roars of silence in the air, in space, in the depths beneath, and all that lives in between. In approaching this world, I have found myself unable to hear everything it shares. The hard to perceive, often soundless parts of environments — those facets of climate, the ground we stand on, the subtle changes in noise - are often unobserved, or under-observed, and underappreciated. I have cultivated a practice of seeking out the under-observed, and holding a conversation with them. Through building electronic instruments, I've developed and refined a practice of listening to the unhearable. Within my thesis book, I seek to create a dynamic representation of the world I've explored. The intangible, often conflicting feelings of wonder, loss, contemplation, and frustration are embedded in short abstract vignettes. I'm interrogating, within the writing, the conversation with the world of the rumbling sounds and silence. The space where I fit in this world. I oscillate between these exercises of care ( for myself, for those who came before me, and for the Earth) and technical minutiae. It is through technical processes that I am able to create meaning in these spaces, so the exploration and explanation of the technical is a central component of my practice. Technology in itself is an idea, one I find best approached through the lens of democratizing and open sourcing. Everyone should be able to create the tools they dream of for understanding their world. My instruments are tools that represent the unhearable and under-observed. They take data and transform it into something else, a recombination of the individual components into something unrecognizable yet familiar. Relationships and conversations are formed between the ground and my hands, weather data and the ethereal, weather data and movement, and sound samples and collapsed time. I have made either three and a half or four instruments while at RISD, depending on how you count them. They allow me to listen to that which cannot otherwise be heard. I continue to refine them, to improve the conversations. I ask the unhearable parts of environments how to listen to them, and, through the music of the instruments, they answer. Then I ask again, and continue to refine the process of creating a sonic world. This book is an embodiment of a sonic world for the unheard.

Changes of government usually mean new policies. But a renewed focus on its place in Asia will enhance the already sound Australia-Singapore relationship.

Kyne is an outsider: a white, Danish girl, living in a country where the majority are blacks and the few whites are English. Her sentiments of belonging and integration are lost when her family's farms are taken away by the dictatorship government in 2004. The country, Zimbabwe, spirals out of control: murder, starvation and chaos becomes the way of life. Kyne and her family are left with nothing. Kyne travels back in time to the bizarre life of her childhood on their farm in Rhodesia during the war in the 1970s. It is a nostalgic yet often horrifying return to her past as she uncovers the strange, sometimes idyllic lifestyle that was once a very normal way of life to her. The story unfolds in a landscape that is both harsh yet beckoning. Kyne confronts her relationships with all those around her beginning with her Danish parents who are determined to continue farming in a land which they call home, even if war threatens their lives. The reader meets Pencil the Cook who allows Kyne into the silent calm of his kitchen, his family, and the secret, adult world in which Kyne will learn of the terrifying reality of war. She describes the workers on the farm who are pulled between loyalty to their employer and to the blacks who seek independence from white rule. Finally, she describes the other white families nearby who are attacked, tortured and killed for attempting to the only way of life they have ever known.

In der Stadtplanung hat sich in der jüngeren Vergangenheit Partizipation als neues Paradigma durchgesetzt. Projektentwickler, Planer und Politiker haben erkannt, dass Bauprojekte mit großem Einfluss auf Stadtgesellschaft und Stadtentwicklung nicht mehr ohne umfassende Bürgerbeteiligung durchgeführt werden können. Vorfälle wie die Unruhen um das Bahnhofsprojekt Stuttgart 21 haben gezeigt, dass die regulären Verfahren der Bauleitplanung mit ihren Instrumenten der formalen Bürgerbeteiligung (Anzeige und Auslage von Planungsunterlagen) nicht ausreichen, um einen gesellschaftlichen Konsens zu kontroversen Projekten zu erzielen. Die Problematik lässt sich zu einem großen Teil auf das sogenannte "Planungsparadox" zurückführen: dezidierte Meinungen und Kritik aus der Bevölkerung bilden sich oft erst, wenn das jeweilige Projekt zur Ausführung kommt und konkrete Formen annimmt – also wenn die Planungen bereits abgeschlossen sind und jegliche weitere Änderung mit erheblichen Aufwendungen verbunden ist. [. aus dem Text]

The acoustic dimension of political philosophy has rarely attracted serious attention, in part because scholars have tended to assume that political theories, ideas, and concepts, exist as abstract entities that are often noiselessly communicated in written texts. And yet, the noisy communication of political ideas whether in the form of Socratic dialogues, Churchillian orations, or in the hushed tones of focus group conversations treasured by deliberative democrats today, has a rich political history and a continuing relevance. This paper will focus on five performative modes for the communication of political ideas: the monologue, the dialogue, the oration, the interjection, and the noisy crowd. While this list may not be exhaustive, it will be used here as a starting point for further exploration. I will contend that in each of these performative modes, the communication of political ideas is framed by the noise of actual, or textually imagined kinds of political speech designed to underscore the validity of the ideas conveyed. One of the most important reasons for traversing this variable performative and acoustic terrain today is to enable us to hear and to listen to political speech amid the potentially polluting hum of political white noise.

The essays collected here are based on two decades of engagement with the residents of the slums of Govindpuri in India's capital, Delhi. The book presents stories of many kinds, from speculative treatises, via the recollection of a thousand everyday conversations, to an account of the making of a radio documentary. Zig-zagging through the lanes of Govindpuri, Listening into Others explores the vibrant sounds emanating from slum culture. Redefining ethnography as listening in passing, Chandola excels at narrating the stories of the everyday. The ubiquity of smartphones, sonic selfies, wailing, the ethics of wearing jeans, the crossroad rituals of elections, the political agency of slum-dwellers, the war of the sexes through bodily gestures, and conflicts over ownership of both property and sound generated in the slums — these are among the many encounters Chandola opens up to the reader. Slums are anxious spaces in the materiality, experience, and imagination of a city. They are the by-products of the violent and exploitative mechanisms of urbanization. What becomes of the slum-dwellers, who universally, across centuries, cities and continents, befall similar fates of being discriminated, reckoned to be the scum of the earth, and a burden on society? By listening to identified others and amplifying their voices in their own vocabularies and grammar, Tripta Chandola's praxis creates a methodological, political, and poetic rupture. Slums, she finds, are not anathema to the city's past, present, or future. They are an integral component of urbanization and a foundational part of the city. With Listening into Others, Tripta Chandola poses the question: 'Who owns the slum, and who determines which voices are heard? From where you are, listen with me.'

From the Library is a new section in The Journal that will reprint the best that has been written about appellate practice and the appellate process. The first piece features timeless advice about oral argument by John W. Davis. Davis was a country lawyer, law teacher, state legislator and congressman, Solicitor General of the United States, Ambassador to the Court of St. James's, Democratic candidate for President in 1924, and managing partner of a New York City law firm.

In our spirit, music just can be an artful arrangement of sounds across time. In fact, "music is part of virtually every culture on Earth, but it varies widely among cultures in style and structure" (Bulter David). More complex than it should be, music link art, society, space and culture, and by its all forms it is a system. Between our two research projects of "sciences of territory" master, the study of punk music can make the surprise. One of us works on the paper of music in geography, the other on sensible territories. Both are thinking that music can be relevant in the next years, and not only in geography. It is everywhere and every time, it is source of economical, political and social stakes, everybody in the world can have an access to it. Yet, its style, its signification or the values its leaves exist in many different forms. Its use and the message its produces are not always simples to descript, but more and more works show that it is most of the time an image of the society. To go to some question, we want introduce this topic in a geographic approach by the example of a specific place and time. How can we aboard music in geography? What is the interest we have? By which process music take place in the society? And overall, how it can be a producer of identity, a vehicle of a social discourse? All this questions are link to our theory which puts music in the situation of a territory marker and a place maker. Thus, we will introduce our argument in a scientific and critical way, taking care of the necessity we have to look serious and credible. In a first part, we going to try establish and affirm the role of music in geography and the trace the latter leave in its. A second part will deals with punk music in the crisis of the 70's in England by a territorial and social aspect.

In our spirit, music just can be an artful arrangement of sounds across time. In fact, "music is part of virtually every culture on Earth, but it varies widely among cultures in style and structure" (Bulter David). More complex than it should be, music link art, society, space and culture, and by its all forms it is a system. Between our two research projects of "sciences of territory" master, the study of punk music can make the surprise. One of us works on the paper of music in geography, the other on sensible territories. Both are thinking that music can be relevant in the next years, and not only in geography. It is everywhere and every time, it is source of economical, political and social stakes, everybody in the world can have an access to it. Yet, its style, its signification or the values its leaves exist in many different forms. Its use and the message its produces are not always simples to descript, but more and more works show that it is most of the time an image of the society. To go to some question, we want introduce this topic in a geographic approach by the example of a specific place and time. How can we aboard music in geography? What is the interest we have? By which process music take place in the society? And overall, how it can be a producer of identity, a vehicle of a social discourse? All this questions are link to our theory which puts music in the situation of a territory marker and a place maker. Thus, we will introduce our argument in a scientific and critical way, taking care of the necessity we have to look serious and credible. In a first part, we going to try establish and affirm the role of music in geography and the trace the latter leave in its. A second part will deals with punk music in the crisis of the 70's in England by a territorial and social aspect.

In our spirit, music just can be an artful arrangement of sounds across time. In fact, "music is part of virtually every culture on Earth, but it varies widely among cultures in style and structure" (Bulter David). More complex than it should be, music link art, society, space and culture, and by its all forms it is a system. Between our two research projects of "sciences of territory" master, the study of punk music can make the surprise. One of us works on the paper of music in geography, the other on sensible territories. Both are thinking that music can be relevant in the next years, and not only in geography. It is everywhere and every time, it is source of economical, political and social stakes, everybody in the world can have an access to it. Yet, its style, its signification or the values its leaves exist in many different forms. Its use and the message its produces are not always simples to descript, but more and more works show that it is most of the time an image of the society. To go to some question, we want introduce this topic in a geographic approach by the example of a specific place and time. How can we aboard music in geography? What is the interest we have? By which process music take place in the society? And overall, how it can be a producer of identity, a vehicle of a social discourse? All this questions are link to our theory which puts music in the situation of a territory marker and a place maker. Thus, we will introduce our argument in a scientific and critical way, taking care of the necessity we have to look serious and credible. In a first part, we going to try establish and affirm the role of music in geography and the trace the latter leave in its. A second part will deals with punk music in the crisis of the 70's in England by a territorial and social aspect.