'A Manifesto for New Listening' (or 'Twenty thoughts about Listening')
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
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
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In: State politics & policy quarterly: the official journal of the State Politics and Policy section of the American Political Science Association, Band 13, Heft 1, S. 88-106
ISSN: 1946-1607
AbstractPolicy representation requires legislators to advance the interests of their constituents. As a consequence, much research on representation examines the congruence between constituents' preferences and legislators' behaviors. This article argues it is more realistic to think of policy representation as listening—a process—than congruence—an outcome. Listening involves legislators monitoring constituent interests and using that information in making decisions. Using data from a survey of state legislators in 26 states, this research finds that monitoring contributes to using constituent information and offers a measure of listening based on these two behaviors. Furthermore, it finds that compared with the decisions of others, the decisions (measured as cosponsoring gay, lesbian, and bisexual [GLB] issue legislation) of legislators who listen are more strongly influenced by district preferences (measured as district votes on same-sex marriage ballot initiatives). This suggests that listening contributes to representation.
In: Routledge Library Editions: Communication Studies
Cover -- Half Title -- Title -- Copyright -- Original Title -- Original Copyright -- Contents -- NOTES ON CONTRIBUTORS -- INTRODUCTION -- ONE Hearers' Intentions -- TWO Comprehension and Context: Successful Communication and Communicative Breakdown -- THREE Resolving Misunderstandings -- FOUR Listening Outside the Participation Framework -- FIVE Hearing You in my Own Voice: Woman as Listener and Reader -- SIX Analysing the Reader: A Critical Survey of Recent Psychoanalytical Theories of Reading -- SEVEN The Nature of Listening in Reading Poetry: A Conversation -- EIGHT Shakespeare and the Listener -- NINE Listening to Her Self -- Women's Diaries -- TEN Listening to a Silent Presence: Notes on Collaborating Over a Translation -- ELEVEN Tom Stoppard and the Politics of Listening -- TWELVE The Dogma of Authenticity in the Experience of Popular Music.
Klappentext: Our culture is one that speaks rather than listens. From reality TV to political rallies, there is a clamour to be heard, to narrate, and to receive attention. It reduces 'reality' to revelation and voyeurism. The Art of Listening argues that this way of life is having severe and damaging consequences in a world that is increasingly globalized and interconnected. It addresses the question: how can we listen more carefully? Social and cultural theory is combined with real stories from the experiences of the desperate stowaways who hide in the undercarriages of jet planes in order to seek asylum, to the young working-class people who use tattooing to commemorate a lost love. The Art of Listening shows how sociology is in a unique position to record 'life passed in living' and to listen to complex experiences with humility and ethical care, providing a resource to understand the contemporary world while pointing to the possibility of a different kind of future. 'This is a wise and human piece of writing, concerned to break out of sociology's academic straitjacket and speak to a wider audience. . .If anything can recover the somewhat tarnished reputation of sociology amongst the general public, then it is a book like this.' (New Humanist) 'The Art of Listening is a rare book in its commitment to vitalize an ethical, global sociology for the twenty-first century. Students are encouraging their parents to read it. Everyone needs this book - especially jaded academics.' (Sanjay Sharma, British Journal of Sociology)
In: Florida Coastal Law Review, Band 13
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Tina M. Campt explores a way of listening to photography by engaging with lost archives of state identification photographs of Afro-diasporan people taken between the late 1800s and the present, showing how to hear the quiet refusal emanating from these photos originally intended to dehumanize and police their subjects.
Xochitl Marsilli-Vargas explains how psychoanalytic listening practices have expanded beyond the clinical setting to influence everyday social interactions in Buenos Aires.
In: Susan L. Brooks, Listening and Relational Lawyering, in Handbook on Listening (Worthington & Bodie, eds. 2020).
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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.
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In: Latin American research review: LARR, Band 58, Heft 1, S. 215-225
ISSN: 1542-4278
This essay reviews the following works:Tropical Riffs: Latin America and the Politics of Jazz. By Jason Borge. Durham, NC: Duke University Press, 2018. Pp. 266. $26.95 paperback. ISBN: 9780822369905.The Cry of the Senses: Listening to Latinx and Caribbean Poetics. By Ren Ellis Neyra. Durham, NC: Duke University Press, 2020. Pp. xvii + 222. $25.95 paperback. ISBN: 9781478011170.Hearing Voices: Aurality and New Spanish Sound Culture in Sor Juana Inés de la Cruz. By Sarah Finley. Lincoln: University of Nebraska Press, 2019. Pp. 252. $60.00 hardcover. ISBN: 9781496211798.Writing by Ear: Clarice Lispector and the Aural Novel. By Marília Librandi. Toronto: University of Toronto Press, 2018. Pp. xxi + 214. $88.00 hardcover. ISBN: 9781487502140.The Senses of Democracy: Perception, Politics, and Culture in Latin America. By Francine R. Masiello. Austin: University of Texas Press, 2018. Pp. 326. $25.95 paperback. ISBN: 9781477315040.Sonar: Navegación/localización del sonido en las prácticas artísticas del siglo XX. By Luz María Sánchez Cardona. Mexico City: Universidad Autónoma Metropolitana; Juan Pablos Editor, 2018. Pp. 171. $34.99 paperback. ISBN: 9786072815469.
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.
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