Sounding Out!

DOI: https://doi.org/10.59350/hd1kn-z3d59

CLICK HERE TO DOWNLOAD: Listening in on Noisy Ghost ‘Our Madonnas Our Nobodies’

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This week, Sounding Out! is happy to share a podcast on nostalgia, performance, and sound. Please join host, Eleanor Russell (Northwestern University), as she guides us through through the popular sounds of the 1980s and compares her sonically-mediated memories to the lived perspectives of her co-hosts André Callot (Independent Artist) and Eric Wenzel (Roosevelt University). How do we remember urban space through sonic media, and is their a potential to queer our memories of the decade by revisiting our shared media ouvré? No matter where you stand on the issue, we recommend that if you enjoyed this week’s podcast you listen in on Eleanor’s other work exploring performance and sound at Noisy Ghost.

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Podcast host Eleanor Russell is a Ph.D student at Northwestern University in the Interdisciplinary Program in Theatre and Drama. Her research interests include sound studies, women’s stand-up and performance art, and feminist epistemologies and phenomenologies. She is affiliated with the Critical Theory Cluster at Northwestern. MA in Theatre History and Criticism from Brooklyn College, BA Religious Studies from Grinnell College.

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Featured image by Domriel @Flickr CC BY-NC.

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REWIND! . . .If you liked this post, you may also dig:

Podcast #34: Sonia Li’s “Whale” – Sonia Li

SO! Amplifies: Cities and Memory– Stuart Fowkes

Learning to Listen: The Velvet Underground’s “Once Lost” LPs – Tim J. Anderson

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Sounding Out! is made with Jetpack Podcast. Full show notes and every episode at https://soundstudiesblog.com/

DOI: https://doi.org/10.59350/hkkpm-8pt67

This April forum, Acts of Sonic Intervention, explores what we over here at Sounding Out! are calling “Sound Studies 2.0”–the movement of the field beyond the initial excitement for and indexing of sound toward new applications and challenges to the status quo.

Today Salomé Voegelin, treats us to a multimedia re-sonification of the keynote she gave at 2014’s Invisible Places, Sounding Cities conference in Viseu, Portugal, “Sound Art as Public Art,” which revivified the idea of the “civic” as a social responsibility enacted through sound and listening. Available for download here as a podcast is an audio recording of the keynote as well as a transcription of its accompanying score. In this final entry of the series, Vogelin shares her insight about how sound can act as intervention, disruption, and resistance.

–AT, Multimedia Editor

CLICK HERE TO DOWNLOAD: Sound Art as Public Art

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 Sound Art as Public Art 

Sit down on a chair

Read: Listening to Noise and Silence: Towards a Philosophy of Sound Art, pp126-127, line 5 to line 5

Play: Clare Gasson, Thought and Hand 53”

Get up, walk a square around your location, singing each side of the square at a different pitch – step back into the middle of the space and grunt loudly.

Stand

Read: Sol leWitt The Location of a Circle, 1974

Sit

Read: Listening to Noise and Silence: Towards a Philosophy of Sound Art pp130-131, line 20 to line 3, 3rd word

Stand

Read: endnoted text [see endnotes below], alternating between life and pre-recorded voice.

Sit

Read: Sonic Possible Worlds, Hearing the Continuum of Sound, pp49-50, line 1 to line 12

Read: Maurice Merleau-Ponty, Nature from Course notes from the Collège de France pp68-69, line 32 to line 17, 7th word

Stand

Read: from soundwords.tumblr.com: The waterjet, April 09, 2013, 09:39am

Read: Patrick Farmer Try I Bark from ‘fire turns its back to me…’ to ‘ i have no desire too name’

Sit

Play: The Red Hook High School Cheerleaders by Jeremy Deller, 2 min excerpt

Stand

Read: Sarah Jackson Silent Running from her collection of poems Pelt

Sit

Play: Lawrence Abu Hamdan, Marches 2008, Track 2, 3 min excerpt

Read: Henri Lefebvre, Rhythmanalysis, pp19-21, line 8 to line 6 (with a slight edit), and p55, line 17 to line 31

Play: Simon-Steen Anderson Pretty Sound (Up and Down) for priano, from LP Pretty Sound, 3 min excerpt

Read: Listening to the Stars from Noch (What Matters Now? What can’t you hear?)

Read: Sonic Possible Worlds pp157-158, line 1 to line 34

Play: Eisuke Yanagisawa Ultrasonicscapes track 10 streetlight 2, 3 min excerpt.

Read: Sonic Possible Worlds pp165-166, line 29-4 + p166-167, line 40 line 6 word 6 and pp 168-169, line 33 to line 2, and p174, line 18 to line 34

Stand

Read: credits while playing Salomé Voegelin: exactly 3 minutes

Endnotes

Life voice [lv]: This is a performance of my sonic possibilities in a public context.

Recorded voice [rv]: Sounds invisible mobility makes accessible, thinkabe and sensible, different and pluralized notions of publicness.

lv: My public performance invites you to consider your own public performance in this same context.

rv: The sonic public is a participatory possibility, whose actuality is not a matter of truth and untruth, but of sonic fictions: personal narrations that realize the invisible and conjure the inaudible, rather than settle on what appears to be there visibly and audibly.

lv: Together we make a civic performance – creating an ephemeral exchange of invisible things that reframe our visible form, relationship and organization.

rv: Listening challenges the designation of private and public. It overhears their distinction and does not follow the functional architecture of place and civic purpose but proposes formless and invisible alternatives.

lv: I am performing my private sonic life-world that meets yours in passing, at moments of coincidence, to create not one appreciable entirety, one actuality, but fragmented possibilities of what our shared space is, or could be.

rv: Sound is not necessarily harmonious, nor definitively antagonistic, but generates the space of an agonistic play: no ideal objective guides or precedes the action that it is.

lv: I sang a square and talked a circle.

rv: The public is not a visual concept, a permanent institution and infrastructure, but a transitory practice.

Iv: made room in the visible space for my invisible possibilities

rv: Sound makes apparent the frames, edges and boundaries of what is considered the actual place, and implodes the singularity and permanence of that perception through an invisible duration.

lv: I made an artistic space,

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Salomé Voegelin is a Swiss artist and writer engaged in listening as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art (Continuum, 2010) and Sonic Possible Worlds: Hearing the Continuum of Sound (Bloomsbury, 2014). She maintains the blog SoundWords  and has curated the exhibition clickanywhere, an online exhibition of spoken and written work. Voegelin is a Reader in Sound Arts at London College of Communication, UAL and has a PhD from Goldsmiths College, London University.

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REWIND! . . .If you liked this post, you may also dig:

Standing Up, for Jose – Mandie O’Connell

Sounding Out! Podcast #23: War of the Worlds Revisited – Aaron Trammell

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Sounding Out! is made with Jetpack Podcast. Full show notes and every episode at https://soundstudiesblog.com/

DOI: https://doi.org/10.59350/1f3nw-pqr65

CLICK HERE TO DOWNLOAD: Linguicide, Indigenous Communities and the Search for Lost Sounds

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This podcast is an effort to understand the cultural practices which surround the recovery of “lost sounds.” These are early linguistic sounds that have been forgotten after years of cultural and martial violence toward indigenous communities in America.

From the very beginning of the invasion of the Americas that began in 1492, Eurocentric ideologies overwhelmingly failed to recognize the strengths of American Indian cultures. Evaluating Native people as “savage,” efforts to westernize the tribes alternated between genocide and acts of removal. Government supported education, amongst other things, became the primary means to accomplish the forced eradication of Indian language. The loss of language as a component of ongoing colonization is what Hawaiian scholar Noenoe K. Silva has called “linguicide.” The results of “linguicide,” as the suppression of indigenous languages and cultures in the United States, has been catastrophic for American Indian and Alaska Native peoples.

For Indigenous people, the spoken language is a cherished intellectual treasure. Each sound captures how we see the world. Native American languages are oral, but some of them have been written in the last three centuries. There are over two hundred different North American languages still spoken by peoples of the United States and Canada. That is, of the over three hundred pre-contact languages originally spoken, only two hundred languages still remain. Fortunately, Native communities are fighting hard to keep these languages alive through sustainability efforts and revitalization projects.

I wonder about the relationship between “lost sounds,” indigenous language, and personal experience. How did we come to lose the language in our own homes? How does this loss continue today? What is being done to “find lost sounds”? How are we, as Native people, searching for the sounds, and what does that process mean to us? The conversation in this podcast is not about the science of linguists, it is not about history or the methods of linguistic preservation. Instead, it is a conversation about the experience of listening and trying to hear how we once were.

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Marcella Ernest is a Native American (Ojibwe) interdisciplinary video artist and scholar. Her work combines electronic media with sound design with film and photography in a variety of formats; using multi-media installations incorporating large-scale projections and experimental film aesthetics. Currently living in California, Marcella is completing an interdisciplinary Ph.D. in American Studies at the University of New Mexico. Drawing upon a Critical Indigenous Studies framework to explore how “Indianness” and Indigenity are represented in studies of American and Indigenous visual and popular culture, her primary research is an engagement with contemporary Native art to understand how members of colonized groups use a re-mix of experimental video and sound design as a means for cultural and political expressions of resistance.

www.marcellakwe.com

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Sounds of Science: The Mystique of Sonification – Margaret Anne Schedel

Radio and the Voice of the Aymara People – Karl Swinehart

The “Tribal Drum” of Radio: Gathering Together the Archive of American indian Radio – Josh Garrett-Davis

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Sounding Out! is made with Jetpack Podcast. Full show notes and every episode at https://soundstudiesblog.com/

DOI: https://doi.org/10.59350/79r2a-xdp88

CLICK HERE TO DOWNLOAD: Soundwalking New Brunswick, NJ and Davis, CA

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This is a comparison of two soundwalks performed by SO! Multimedia Editor Aaron Trammell in two different cities–New Brunswick, NJ and Davis, CA. In this podcast Aaron listens to his footsteps and considers the sonic interactions between individual and environment. Specifically, he considers how the artist must always contend with the degree to which they are audible in the soundwalks they record, thus marking a radical departure from visual modes of inquiry that render the research invisible. Let’s join Aaron as he walks us through two cities he loves.

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Aaron Trammell is co-founder and Multimedia Editor of Sounding Out! He is also a Media Studies PhD candidate at Rutgers University. His dissertation explores the fanzines and politics of underground wargame communities in Cold War America. You can learn more about his work at aarontrammell.com.

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Park Sounds: A Kansas City Soundwalk for Fall – Liana Silva

Sounding Out! Podcast #37: The Edison Soundwalk – Frank Bridges

Sounding Out! Podcast #36: Ann Zeitz and David Boreau’s “Retention” – Ann Zeitz

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Sounding Out! is made with Jetpack Podcast. Full show notes and every episode at https://soundstudiesblog.com/

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DOI: https://doi.org/10.59350/adrhk-etr19

CLICK HERE TO DOWNLOAD: Radio Frequencies, Radio Forms LIVE

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Today’s podcast is an archival recording of “Radio Frequencies, Radio Forms LIVE,” a special program on WHRW, Binghamton University’s free-format radio station, broadcast on December 15, 2014 from 6:00-7:30.  Part original radio art broadcast and part “Behind the Artists’ Studio” conversation, “Radio Frequencies” represents the culmination of a semester-long experimental collaboration between Professor Jennifer Stoever (BU English) and Filmmaker, Sound Artist and Professor Monteith McCollum (BU Cinema) and the students of their advanced transdisciplinary seminar “Resonant Frequencies: Exploring Radio Forms.”

Over the course of the Fall 2014 semester, students learned the fundamentals of recording and editing while discussing radio history, sound production, sound art history, and theories of sound and listening to copious (and diverse) radio pieces ranging from Aimee Temple McPherson sermons to Norman Corwin’s We Hold These Truths, the Suspense episode “Sorry, Wrong Number” to Delia Derbyshire’s “The Dreams.”  McCollum and Stoever’s students were creative, interested, driven and exceptionally talented; two from the course, Tara Jackson and Aleks Rikterman, went on to have some of their semester’s work featured in the 2014 Mix for Wavefarm’s annual 60 X 60 competition, the only two students alongside seasoned arts professionals, professors, radio producers, and Prix Italia Winners.

The WHRW broadcast features well-crafted recordings of the course’s capstone project—4 collaboratively developed original 8-10 minute radio pieces—alongside fascinating live discussions between Monteith, Jennifer, and their students about radio as medium, broadcast vs. performance aesthetics, the process of  recording, manipulating, and editing sounds, the students’ radio influences, the role of the listener, the value of radio’s past and their forecasts about its future. This podcast is a must listen for anyone interested in radio production and history, creative pedagogy, conversations about sound art, or just interesting and unexpected listening!

Credits:

Hosts and Executive Producers: Monteith McCollum and Jennifer Stoever

McCollum and Stoever’s course was made possible by a generous transdisciplinary team-teaching grant from the Provost’s Office at Binghamton University, with thanks to Provost Don Neiman and Don Loewen, Vice Provost for Undergraduate Education

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Monteith McCollum, Assistant Professor of Cinema at Binghamton University, is an inter-media artist working in film, sound, and sculpture. His films have screened at Festivals and Museums including The Museum of Modern Art, Hirshhorn, Wexner Center for the Arts and Festivals including SXSW, Slamdance, Hot Docs, Amsterdam & Osnabruck European Media Arts Festival. His films have garnered dozens of festival awards including an IFP Truer than Fiction Spirit Award. You can learn more about his work at monteithmcollum.com.

Jennifer Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University and a recipient of the 2014 SUNY Chancellor’s Award in Teaching.

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SO! Reads: Susan Schmidt Horning’s Chasing Sound: Technology, Culture, and the Art of Studio Recording From Edison to the LP – Enongo Lumumba-Kasongo

Sounding Out! Podcast #34: Sonia Li’s “Whale” – Sonia Li 

Sounding Out! Podcast #10: Interview with Theremin Master Eric Ross – Aaron Trammell

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Sounding Out! is made with Jetpack Podcast. Full show notes and every episode at https://soundstudiesblog.com/