ASSEMBLING SOUNDS
Organizer: John Melillo
Co-Organizer: Michael Nardone
In this seminar, we propose to concentrate on sound's expansiveness as a mechanism for producing various, fleeting, and continually shifting communities of listening and moments of assembled connection. If sound is an index of life (John Cage: "Until I die there will be sounds."), what are the poetics of liveliness (to use Ada Smailbegovic's phrase) that constitute its relations of mediation, preservation, and connection in our bodies and beyond?
We invite papers that draw out comparative rhythms of listening in poetry, performance, musical composition, prose, film, audio recording, and beyond. We seek intersections between auralities that allow us to think/feel life worlds in new ways and in new contexts: ambient textures, feedback loops, asynchronicities, mediumicity's metaphorics, scales of attention and access, and other sonic transversals. Potential theoretical frameworks to draw upon include, but are not limited to, critical listening positionality (Dylan Robinson), notions of ensemble (Anthony Reed) and of convergence (Candice Hopkins and Raven Chacon), conviviality (Caitlin Shepherd), the tenses of audible life (Amy Cimini), musicking (Christopher Small), refrain and event-form (Michael Gallope), inscription and fugitivity (Alexandra T. Vazquez), ethnographies of rhythm (Haun Saussy), and disquiet/noise (Lisa Robertson).
Our goal will be to share a range of sonic practices that move beyond conceptual frames of a universal objectivity and toward the intimate perceptual states and styles of being that assembled (and assembling) sounds can produce.
Organizer: John Melillo
Co-Organizer: Michael Nardone
In this seminar, we propose to concentrate on sound's expansiveness as a mechanism for producing various, fleeting, and continually shifting communities of listening and moments of assembled connection. If sound is an index of life (John Cage: "Until I die there will be sounds."), what are the poetics of liveliness (to use Ada Smailbegovic's phrase) that constitute its relations of mediation, preservation, and connection in our bodies and beyond?
We invite papers that draw out comparative rhythms of listening in poetry, performance, musical composition, prose, film, audio recording, and beyond. We seek intersections between auralities that allow us to think/feel life worlds in new ways and in new contexts: ambient textures, feedback loops, asynchronicities, mediumicity's metaphorics, scales of attention and access, and other sonic transversals. Potential theoretical frameworks to draw upon include, but are not limited to, critical listening positionality (Dylan Robinson), notions of ensemble (Anthony Reed) and of convergence (Candice Hopkins and Raven Chacon), conviviality (Caitlin Shepherd), the tenses of audible life (Amy Cimini), musicking (Christopher Small), refrain and event-form (Michael Gallope), inscription and fugitivity (Alexandra T. Vazquez), ethnographies of rhythm (Haun Saussy), and disquiet/noise (Lisa Robertson).
Our goal will be to share a range of sonic practices that move beyond conceptual frames of a universal objectivity and toward the intimate perceptual states and styles of being that assembled (and assembling) sounds can produce.