The Body in Sound, Music and Performance: Studies in Audio and Sonic Arts

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Contributors
Illustrations
Introduction
	Working With Women On Sound
	The Idea of the Book
	Our Authors
	A Note On the Times of Writing
	Notes
	Bibliography
Part I New Epistemologies of Sound
	1 Forces at Play
		Reflection: Notes From the Inside
			Thinking With Others – 1
		Reflection: From the Inside Looking Out
			Thinking With Others – 2
		Reflection: Sitting On the Outside – Experience 1
			Thinking With Others – 3
		Reflection: Sitting On the Outside – Experience 2
			Thinking With Others – 4
		Connecting It All Together
		Notes
		Bibliography
		2 Why Should We Care About the Body?: On What Enactive-Ecological Musical Approaches Have to Offer
			What Enactive-Ecological Accounts Afford
			Social Cognition, Care, and Musicking
			Mediation and Technology
			Conclusion
			Notes
			Bibliography
		3 Under Mar Paradoxo (Paradox Sea) and Coastal Silences
			Notes
			Bibliography
		Part II Gendered Sounds, Spaces, and Places
			4 Deep Situated Listening Among Hearing Heads and Affective Bodies
				Introduction
				Passivity and Empowerment
				The EAM Concert as a “Plane of Immanence”
				A Feminist Perspective
				Deep Situated Listening
				Situated Listening and What to Do With Passion and Passiveness
				Concluding Remarks
				Acknowledgments
				Notes
				Bibliography
			5 The Field Is Mined and Full of “Minas”: Women’s Music in Paraíba – Kalyne Lima and Sinta A Liga Crew
				Contextualizing the Subject
				Hip Hop Is Also a North-Eastern Woman’s Thing
				Campo Minado (Minefield)
				Some Considerations
				Notes
				Bibliography
			6 Working With Womens Work: Towards the Embodied Curator
				Prologue: Unboxing Oliveros
				Exhibition as (Lively) Expanded Publishing
					Slow Runner
					Words to Be Looked at and Actions to Be Performed
					ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE
				Live Materials: the Workshop as Curatorial Format
				Hosting Live Social Volumes: Towards the Embodied Curator
				Notes
				Bibliography
				7 Tejucupapo Women: Sound Mangrove Bodies and Performance Creation
					Warning-manifesto
					Tejucupapo in Prelude
					Artethnography in Three Movements and an Interlude
						Movement I: Sounds and Bodies of the Mangrove Forest
						Movement II: Sounds and Bodies of the Festivities
						Movement III: Sounds and Bodies of the Theater
					Interlude
					Epilogue: Network of Practices for Performance Creation
					Notes
					Bibliography
					Part III New Methodologies in Sound Art and Performance Practice
						8 Looking for Silence in the Body
							Body and Performance
							Looking for Silence
							Dance as a Witness.
							Notes
							Bibliography
						9 Our Body in #sonicwilderness & #soundasgrowing
							Outro
							Notes
						10 What Makes the Wolves Howl Under the Moon?: Sound Poetics of Territory-Spirit-Bodies for Well-Living
							#experiment: The Lunar Howls of Wolves
							Wolves # Diary: the Oracle of the Goddesses – the Cards
							#The Oracle of the Goddesses: The Cards
							#Dancing With the Goddess Shakti – Energy
								# Praying to the Goddess
								#Breathing Out
							# Wolves # Writings # Break
							Notes
							Bibliography
							11 Dispatches: Cartographing and Sharing Listenings
								Invention and Sharing of Listening
								Dispatching Listening
									Fiction-score
										Dispatches, a Proposition for Sharing Listening
										fundamentals
										dynamic of the Conversation
										ethics of the Conversation
										suggestions to Share Listening
									Two Affective Reports From Listening
										The First Affective Report
										The Second Affective Report
									Making Our Own Listenings Audible
									Notes
									References
									12 Applying Feminist Methodologies in the Sonic Arts: Listening to Brazilian Women Talk About Sound
										Introduction
										Sound and Gender
										Developing Our Methods
										What Makes a Feminist Methodology?
										Soundwalking as a Feminist Methodology
										Working With Women in Porto Alegre
										Engaging With Women Across Brazil
										Conclusion
										Notes
										Bibliography
									Part IV The Body Technology
										13 The Sensuality of Low Frequency Sound
											Introduction
											Low Frequency Sound and the Sonic Body
											Power-Induced Sensuality in the Work of Thembi Soddell
											The Delicate Sensuality of Low Frequency in the Work of Marina Rosenfeld
											Timbral Sensuality in My Own Compositions
											Conclusion
											Notes
											Bibliography
										14 Cynosuric Bodies
											Introduction
											Hand as Body
											Body as Pieces
											Pieces as Practice
												Inter-Act
												Flesh/Light/Movement
												Locus
												III: Once Removed
												Audimance
											Manifesto
											Acknowledgements
											Bibliography
											15 The Violining Body in Anthèmes II By Pierre Boulez
												Introduction
												The Electrified-Violining-Body
												The Body Mixed in Practice
												Projection and Dynamic Differentiation
												Accents – Onsets
												Haptic Gap
												Conclusion
												Notes
												Bibliography
											16 “Try to Walk With the Sound of My Footsteps So That We Can Stay Together”: Sonic Presence and Virtual Embodiment in …
												Notes
												Bibliography
											17 Breathing (As Listening): An Emotional Bridge for Telepresence
												In Search of an Interface
												INTIMAL
													Listening Deeply to Colombian Women’s Migration
													Understanding Body Movement in a Migratory Journey
													Design and Implementation of the INTIMAL “Embodied” Physical-Virtual System for Relational Listening
												Breathing in the INTIMAL Performance: an Emotional Bridge for Telepresence
													Breathing as Chora
												Back to the Interface, in 2020
												Acknowledgements
												Notes
												References
												18 Foley Performance and Sonic Implicit Interactions: How Foley Artists Might Hold the Secret for the Design of Sonic …
													Introduction
													A Note About Acting
													The Body, Acting and Foley Artistry
													From Low Tech to High Tech: Foley Artists as Designers of Sonic Implicit Interactions
													Conclusion
													Note
													Bibliography
												Index