"To distinguish multimodal listening from listening practices that depend on the ears
exclusively, it might be useful to think of listening to and for audible sound as earing.
Multimodal listening moves away from organ-specific definitions and instead
conceives of listening as a practice that involves attending to not only the sensory,
embodied experience of sound, but to the material and environmental aspects that
comprise and shape one’s embodied experience of sound. Unlike ear-centric practices
in which listeners’ primary goal is to hear and interpret audible sound (often
language), multimodal listening amplifies the ecological relationship between sound,
bodies, and environments. Broadly speaking, multimodal listening is a bodily practice
that approaches sound as a holistic experience."
"“If I want to play something quietly, sometimes I move my mallets but I’m
not actually touching the instrument. So, the audience feels I’m playing extremely
quietly, and they really do believe they’re hearing something even though nothing is
coming out. It’s because they’re seeing the movement [. . .] that automatically gives
them the feeling that sound is there.” By deliberately drawing attention to the movements
of her mallets, Glennie tricks her audience into believing that those movements
resulted in audible sound. Playing with the audience’s perception of sound enables
Glennie to give the audience a glimpse into her own visual listening practices. Her
anecdote also highlights the strong connection between sound and vision that most
people unconsciously rely on when listening. Indeed, when Glennie performs her
sonic compositions, the visual aspects of her performance are an important part of
the audience’s listening experience. The speed or slowness with which Glennie moves
her body as she plays, her facial gestures, and the way that she physically handles
the instruments all contribute to how sound is being experienced by the audience."
"I realize that multimodal listening practices may seem unnecessary for people
with functioning ears. If one can hear, then what is the point of using additional
sensory modes to attend to sound? I argue that the kinds of multimodal listening
practices Glennie uses are necessary and purposeful to everyone because, unlike earing,
these practices enable listeners to achieve expansive sonic experiences that can
lead to rich, meaningful sensory encounters."
"Bodily
memory is reinforced during every single sensory encounter one experiences. After
enough sensory experiences, bodies acquire knowledge about how these encounters
affect them, which informs how they will respond to new sensory experiences. In
this sense, the very act of living—of being a body interacting with the world—is an
ongoing series of educational events."
http://www.ncte.org/library/NCTEFiles/Resources/Journals/CE/0772-nov2014/CE0772Educating.pdf
martes, 5 de abril de 2016
About my artist references.
I am starting to post describing sheets (or records) about my artist references. All my inspiration of them come from their:
- Struggle for rights and better society.
- The engagement of the artist with people.
- Almost all them work (or have worked) with people, and if they don't, they have fight for themselves.
- I can see in their artworks a type of duty, trying a recovery,
- They work with culture, history and anthropology.
About the texts I am reading and posting, I will say that I find them really inspirational for my theories and own thoughts. They usually talk about the senses and their possibly utility in daily life, overall in our interpersonal relationships.
The art therapy ones helped me to strength my sessions and knowledges
Theaster Gates.
On black foundations.
She straddles the invisible fold.
Covered vessel."I actually no longer use 'art' as the framing device. I think I'm just kind of practicing things, practicing life, practicing creation". - Theaster Gates.
http://theastergates.com/home.html
Claiming, “I think I’m a full-time artist, a full-time urban planner, and a full-time preacher with an aspiration of no longer needing any of those titles,” Theaster Gates makes work focused on racism and poverty in America, and works to make change in downtrodden communities across the country. His practice is grounded in African-American history and culture, and in his own experience growing up on the South Side of Chicago. Slavery, industrial exploitation, and the Civil Rights Movement feature prominently in his sculptures, installations, and performances, into which he incorporates such materials as shoe shine stations and fire hoses. During the 2008 financial crisis, Gates decided to focus on fostering improvement through art. Starting in his own neighborhood and expanding to other communities, he has effectively rejuvenated numerous abandoned buildings, transforming them into vibrant social hubs and cultural spaces.
https://www.artsy.net/artist/theaster-gates
Gates trained as both a sculptor and an urban planner and his works are rooted in a social responsibility as well as underpinned by a deep belief system. His installations and sculptures mostly incorporate found materials – often from the neighborhoods where he is engaged and have historical and iconic significance.
Perhaps Gates most ambitious project, however, is the ongoing real estate development, simply known as 'The Dorchester Project'. In late 2006, Gates purchased an abandoned building on 69th and Dorchester Avenue on Chicago's South Side, collaborating with a team of architects and designers to gut and refurbish the buildings using various kinds of found materials. The building and, subsequently, several more in its vicinity, have become a hub for cultural activity housing a book and record library and becoming a venue for dinners (choreographed occasions entitled 'Plate Convergences'), concerts and performances.
http://whitecube.com/artists/theaster_gates/
lunes, 4 de abril de 2016
Shopie Calle.
La visite guidée. The hotel, room 46.
La filature (the shadow). In 'The Shadow', (left) although Sophie Calle knew she would be followed and photographed as she went about her daily life in Paris, she had no idea which day the detective would be following her.She kept an itinerary of her own movements and wrote a description of what happened each day as well as making a series of photographs of what she saw herself.
These two contrasting points of view of the same period of time - the detectives' report and photos and her own diary and self-portaits - were exhibited as the final piece of work.
'Ultimately, my excitement was stronger than my hesitation' … Sophie Calle.
Sophie Calle is a French artist who works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. She also imposes elements of her own life onto public places creating a personal narrative where she is both author and character. She has been called a detective and a voyeur and her pieces involve serious investigations as well as natural curiousity.
In 1980 Calle made a piece called 'Suite Vénitienne' in which she followed a man she had met at a party to Venice and continued to follow and photograph him there for two weeks.
The Hotel
A year later she returned to Venice where she got a temporary job as a chambermaid. She made a piece of work about her imagined ideas of who the hotel guests were, based on their personal belongings.
A year later she returned to Venice where she got a temporary job as a chambermaid. She made a piece of work about her imagined ideas of who the hotel guests were, based on their personal belongings.
In 1983, Calle produced her most controversial work of art, Address Book. She had found an address book in the street, photocopied it and sent the original back to its owner. Then she set about ringing the numbers to assemble a portrait of the man. She also took photographs of other people engaged in his favourite activities. When the newspaper Libération published the results, the man, documentary film-maker Pierre Baudry, threatened to sue for invasion of privacy, only backing down when the paper ran a nude photograph of Calle. Given that The Striptease was already published, this sounds like rather feeble revenge. "He was trying to be very aggressive. He disliked what I did."
Take Care of Yourself (2007) was prompted by an email Calle received from a lover ending their relationship. It ended: "Take care of yourself." Calle invited 107 women to analyse the email.
Calle's works often focus on the nature of desire, and on the relationships between the artist/observer and the objects of her investigations, as in her sole video projectDouble-Blind. Produced in collaboration with Gregory Shepard, this conceptual road movie was released theatrically in Europe as a feature film entitled No Sex Last Night.
Ethnographies of Touch and Touching Ethnographies: Some Prospects for Touch in Anthropological Enquiries// Rosemary Blake.
"Formerly taken-for-granted notions of knowledge have come under scrutiny with anthropologists such as Michael Jackson using a focus on experience to challenge the notions of ‘determinant systems of knowledge’ (Jackson 1995: 160) espoused in positivist disciplines and sometimes implicit in the anthropological enterprise. Rather, it is argued, we reflect on our embodied experiences in and of the field and how these shape and produce our knowledge in and of the field whilst simultaneously acknowledging that ‘words alone can never do justice to experience’ (Jackson 1995: 160). The embodied nature of knowledge is being recognised and the movement towards reflexive accounts is as much about rethinking what constitutes valid data as it is about challenging former assumptions about ethnographic authority."
"In addition to language analysis, Geurts embarks upon a kind of sensory analysis in which she explores the sensations she experienced when she accidentally drove over a rock which was believed to be a kind of ‘spiritual guardian of thresholds’ by those she was living with (2003: 195). By analysing the subsequent significances or modes of interpretation that she accorded to the sensations she experienced during this event and how these differed from those communicated by others, she demonstrates the rigidity of the ‘traditional models for how we think about how we perceive’ (2003: 196)."
"The children were acutely aware of the pain that could be and was, inflicted on them at the hands of another but they were equally aware of the efficacy of touch for imparting relief. When injections were being administered, hands were often held and when pain was ongoing and vague, heads were stroked or, if the child was small enough, entire bodies cuddled and held. It was not just the adults who instigated these comforting touches; they were emphatically requested by the children, even of relative strangers (such as me). Moreover, in my discussions with the children over the benefits of these touches many asserted that they provided not just comfort but actual pain alleviation – particularly when given by someone close to the child, such as a mother."
"In Those who Touch (Rasmussen 2006), an account is given of the role that touch plays in diagnosis given by medicine women. Here, in addition to observing how healing practices of touch are employed, it is argued that touch has been neglected within anthropology by contending that anthropologists typically exhibit a bias towards the visual in their ethnographic accounts. ‘With few exceptions,’ she asserts, ‘unspoken elements in discourse tend to be trivialised or ignored’ (Rasmussen 2006:59). Rasmussen maintains that touch is an important element of human communication and interaction which is due careful attention. In the case studies she presents, Rasmussen suggests that Taureg healers will have typically centred their thoughts to the sensitive reception, through their hands, of non-verbal messages and energy (ibid.). The messages that touch conveys can be, in her opinion, ‘either conscious and purposeful or unconscious, with unintended but powerful consequences read differently by the receiver’ (ibid.)."
"Touch is a diffuse experience; of all our sensory organs, the skin is the largest. It occupies and traverses space and the skin’s sensitivity to touch varies greatly across its surface. Moreover, touch involves pressure sensations as well as nerve sensations."
You can find the full essay:
http://www.anthropologymatters.com/index.php/anth_matters/article/view/224/378
"In addition to language analysis, Geurts embarks upon a kind of sensory analysis in which she explores the sensations she experienced when she accidentally drove over a rock which was believed to be a kind of ‘spiritual guardian of thresholds’ by those she was living with (2003: 195). By analysing the subsequent significances or modes of interpretation that she accorded to the sensations she experienced during this event and how these differed from those communicated by others, she demonstrates the rigidity of the ‘traditional models for how we think about how we perceive’ (2003: 196)."
"The children were acutely aware of the pain that could be and was, inflicted on them at the hands of another but they were equally aware of the efficacy of touch for imparting relief. When injections were being administered, hands were often held and when pain was ongoing and vague, heads were stroked or, if the child was small enough, entire bodies cuddled and held. It was not just the adults who instigated these comforting touches; they were emphatically requested by the children, even of relative strangers (such as me). Moreover, in my discussions with the children over the benefits of these touches many asserted that they provided not just comfort but actual pain alleviation – particularly when given by someone close to the child, such as a mother."
"In Those who Touch (Rasmussen 2006), an account is given of the role that touch plays in diagnosis given by medicine women. Here, in addition to observing how healing practices of touch are employed, it is argued that touch has been neglected within anthropology by contending that anthropologists typically exhibit a bias towards the visual in their ethnographic accounts. ‘With few exceptions,’ she asserts, ‘unspoken elements in discourse tend to be trivialised or ignored’ (Rasmussen 2006:59). Rasmussen maintains that touch is an important element of human communication and interaction which is due careful attention. In the case studies she presents, Rasmussen suggests that Taureg healers will have typically centred their thoughts to the sensitive reception, through their hands, of non-verbal messages and energy (ibid.). The messages that touch conveys can be, in her opinion, ‘either conscious and purposeful or unconscious, with unintended but powerful consequences read differently by the receiver’ (ibid.)."
"Touch is a diffuse experience; of all our sensory organs, the skin is the largest. It occupies and traverses space and the skin’s sensitivity to touch varies greatly across its surface. Moreover, touch involves pressure sensations as well as nerve sensations."
You can find the full essay:
http://www.anthropologymatters.com/index.php/anth_matters/article/view/224/378
viernes, 1 de abril de 2016
Variety of useful articles.
- Senses in art: Priere de Toucher. This is a really good set of examples of artworks which gather more than one sense, and in their theoretical speech you can read their worry about this. I think it worths to read and think the possible role of art in this current life reflections.
- The senses and society. A really different and specific magazine about the topic we are studying.
- The senses and society. A really different and specific magazine about the topic we are studying.
"Sensation is fundamental to our experience of the world. Shaped by culture, gender and class, the senses mediate between mind and body, idea and object, self and environment. The senses are increasingly extended beyond the body through technology, and catered to by designers and marketers, yet persistently elude all efforts to capture and control them. Artists now experiment with the senses in bold new ways, disrupting conventional canons of aesthetics.
- How many senses are there?
- What are the uses of the senses – all of them?
- How is perception shaped by cultures and technologies?
- In what ways are the senses hierarchized by gender, class, or race?
- What are the social implications of the growing emphasis on the management of sensation (or, commercialization of the sensorium)?
- How might a focus on the cultural life of the senses yield new insights into processes of cognition and emotion?"
The Expanding Field of Sensory Studies// David Howes.
"In “Sociology of the Senses” ([1921] 1997), he (Georg Simmel) related the general perplexity and lonesomeness of the modern urban subject to the “great[er] preponderance of occasions to see rather than to hear people.” {n7}Contrary to the country village, where people typically exchange glances and greet each other when out walking, in the city people are forced to spend long periods staring absently and keeping silent while riding on a street car or other public transport. And when a gaze chances to light upon a face, that face can appear to reveal too much about the individual, making the observer feel uneasy. At the same time, faces are notoriously difficult to read, particularly in the absence of conversation, which adds to the urban dweller’s feelings of perplexity and isolation. Whence the cultivation of indifference as a coping mechanism: better to be blasé."
"The question of the classification of the senses is another area that has attracted increased attention of late, as evidenced by The Sixth Sense Reader (Howes 2009). The five-sense sensorium is said to have been invented by Aristotle, though some would credit Democritus instead (Jütte 2005). Aristotle’s enumeration enjoyed great authority, but this did not prevent it from being challenged by those who lobbied for other senses to be recognized, such as the genital organs, the heart, the sense of beauty, the muscle sense or kinaesthesia, and the vomeronasal organ (also known as Jacobson’s Organ), to mention but a few (Classen 1993: 1-4; Jütte 2005: chs. 2, 3; Kivy 2003; Wade 2009; Watson 1999). The list continues (see www.sixthsensereader.org)."
"Among the Suyà of Brazil, pubescent boys and girls are fitted with ear-discs during their respective initiation ceremonies, but only senior men are permitted to be fitted with lip-discs. These body modifications express the importance attached to the faculties of hearing and speaking in Suyà culture. They function in the same way as such technological extensions of the senses as the telephone and the microscope function to channel perception along modality-specific lines. Male chiefs are further distinguished by their powers of listening and strident voices, whereas witches (who tend to be female) are said to be hard of hearing, prone to mumble and ascribed extraordinary powers of vision, such as being able to see at a distance, instead. The Suyà do not decorate the eyes, because for them vision is an anti-social faculty. Significantly, all of their major ceremonies take place at night, a time of diminished visibility and heightened aurality (Howes 1991: 175-77)."
"The question of the classification of the senses is another area that has attracted increased attention of late, as evidenced by The Sixth Sense Reader (Howes 2009). The five-sense sensorium is said to have been invented by Aristotle, though some would credit Democritus instead (Jütte 2005). Aristotle’s enumeration enjoyed great authority, but this did not prevent it from being challenged by those who lobbied for other senses to be recognized, such as the genital organs, the heart, the sense of beauty, the muscle sense or kinaesthesia, and the vomeronasal organ (also known as Jacobson’s Organ), to mention but a few (Classen 1993: 1-4; Jütte 2005: chs. 2, 3; Kivy 2003; Wade 2009; Watson 1999). The list continues (see www.sixthsensereader.org)."
"Among the Suyà of Brazil, pubescent boys and girls are fitted with ear-discs during their respective initiation ceremonies, but only senior men are permitted to be fitted with lip-discs. These body modifications express the importance attached to the faculties of hearing and speaking in Suyà culture. They function in the same way as such technological extensions of the senses as the telephone and the microscope function to channel perception along modality-specific lines. Male chiefs are further distinguished by their powers of listening and strident voices, whereas witches (who tend to be female) are said to be hard of hearing, prone to mumble and ascribed extraordinary powers of vision, such as being able to see at a distance, instead. The Suyà do not decorate the eyes, because for them vision is an anti-social faculty. Significantly, all of their major ceremonies take place at night, a time of diminished visibility and heightened aurality (Howes 1991: 175-77)."
"The senses are not simply passive receptors. They are interactive, both with the world and each other.
Perception is not solely a mental or physiological phenomenon. “The perceptual is cultural and political” (Bull et al 2006: 5).
The limits of one’s language are not the limits of one’s world, pace Wittgenstein (1922), for the senses come before language and also extend beyond it.
The senses collaborate, but they may also conflict. The unity of the senses should not be presupposed, pace Merleau-Ponty (1962).
The senses are commonly hierarchized, with higher ranked groups being associated with the “higher” senses and what are considered refined (or neutral) sensations.
No account of the senses in society can be complete without mention being made of sensory differentiation, for example, by gender, class, ethnicity.
“The senses are everywhere” (Bull et al. 2006: 5). They mediate the relationship between idea and object, mind and body, self and society, culture and environment.
Each culture elaborates its own ways of understanding and using the senses. No one sensory model will fit all."
Suscribirse a:
Entradas (Atom)