The text begins with a quote by Toni Bambara and he speaks on the fact we might listen and hear but it’s difficult to understand what others say. Do we trust it, do we feel safe? This is a good reflection of listening attentively, I would say in contrast to hearing. Listening in itself is the act of paying attention to what is being heard. A conscious decision to understand.
1.2 speaks on the idea that a group listening action can be greater than a single person’s response to the question “what did you hear?” This I feel perhaps indicates the idea of removing one’s ego and thoughts when listening but rather to respond as a group. Non verbally or verbally. That listening as a group indicates a stature of thought that isn’t bound to one’s opinion. I feel this might relate to the last text Sonic Bodies, where it speaks on learning through sound as another way of receiving information and perhaps in this sense it is similar.
1.5 speaks on the experience of listening and sometimes silence is needed, as artists, we don’t always have to say things. To have a voice either. That with our bodies we do the talking and this is a different decision. It also speaks on that if listening and the condition of It is silence, that we can’t listen to the pain and suffering of others without being silent. That we don’t need to respond, to act in this situation is to just listen. Allow room for the person speaking or showcasing to be fully listened to.
Julian describes sonic bodies as the people that attend sound systems, the sound system itself contains a crew that operate each function. The speakers themselves carry high, sub, sub-bass, mid frequencies. And the curation of all of it is a laboratory. Where the crew play and use intuition to create a so-called “vibe” where the crowd react to every decision that is made.
In this text, bodies are being recognised as sonic, while making a connection and difference between consuming sound. In a sound system, the body is placed in the sound. Being surrounded by the speakers and the other listeners. Whereas with earphones listening is the opposite. Sound is placed inside bodies. This I assume is speaking around the idea of being a sonic body. The separation between the ethnographic mentality of thinking and more towards the abstract. And that Sound offers dynamic ways of thinking through corporeal practices of thought.
It is also a turn away from any hierarchy of the senses and the dominance of vision in particular, towards a pattern of cooperation of sensory modalities in which each contributes its unique qualities for our negotiation through the “ambient energy”. A quote I felt represented a lot of this text, the thirty-eight pages speak on this idea of a different way of learning and thinking. Through doing and reacting to relative actions in space that thinking through sound is just as important in this context as other ways. As well as bringing light to this idea of “thinking through sound”.
Sonic Bodies challenges some of the most widely held assumptions about what knowledge itself actually is. One such assumption is that knowledge resides in “the mind” – as if this could be separate from its body. Another is that knowledge is information about things, rather than relationships and dynamic patterns. A third assumption is that knowledge originates with peer-reviewed research in the academy, rather than subaltern or lumpen street cultures.
Again another different approach to knowledge, instead of seeing things as objects they are seen as relationships and actions amongst themselves. That the mind and body are in unison when conducting thoughts and actions. One doesn’t work with the other, and I believe Julian argues this by bringing attention to the knowing without learning or more so learning differently than the western world believes is the only way to attain knowledge.
I have found this book which I haven’t read yet to be almost perfect for my research. A synopsis is.
In the field, is a collection of interviews with contemporary sound artists who use field recording in their work. From its early origins in wildlife sound and in ethnographic research, field recording has expanded over the last few decades into a diverse range of practices which explore and investigate aspects of the lived environment, from the microscopic to the panoramic, through the medium of recorded sound. This book has conversations that explore the fundamental issues that underlie the development of field recordings as the core of their activity. Recurring themes include early motivations, aesthetic preferences, the audible presence of the recordist and the nature of the field.
In the lecture this week we were given a random topic to research and find articles and sources for information and references to help us with understanding what is good for our essays, as well as for our literature review.
I and Kiro received ASMR. Which I had heard before, it’s on Youtube for everyone to discover, not something I typically enjoy though. We began our search through the UAL library and discovered a book called ASMR. We proceeded to search for the authors name and found it wasn’t very reliable. The sources reviewing his book were YouTubers with usernames such as “GreenASMRGoblin” Which didn’t mean his work was accepted perhaps or peer-reviewed by the larger scientific community.
We then proceeded to research Google scholar, something I use a lot. And found a few articles on scientific research into ASMR, some articles with evidence and facts/statistics about how it affects us and how it can occur. Again I felt only a few were reliable. We then shared our ideas and how we did the research in class. I felt like my work was perhaps too scientific on the approach which Annie felt as well. Again this is good for me to understand as I don’t want my essay to be scientific but lightly use science for evidence of my decisions perhaps.
After speaking with Toby he did confirm that perhaps I was thinking a few things for my essay. That I had to focus on the specifics of what I’m attempting to speak about. He did say I seemed motivated and passionate about what I’m writing which gave me reassurance towards my topic. I shared a few books I was reading and he agreed they seemed relevant and to continue the pursuit. He also agreed that the essay and the creative project related very well and was happy to hear I had already planned the second part of the hand in submission.
Toby gave me further guidance to perhaps looks into meditation and into noise the ideas of noise for different people, to speak In that perspective is interesting for him he says. As well he mentioned accessibility and wellbeing within field recordings. Again something I agreed would be great to bring into my essay.
I also asked Toby about my plan which was to finish the essay in its entirety by the end of the spring break so when I return as the lectures shift towards a more creative project orientated stance I have already done the essay which will feed the parameters of the recordings. I spoke that my idea was to create an album of field recordings that bring peace and reduce anxiety. Maybe something that people can put on when they’re anxious in public and need to listen. He spoke about autism and over-sensitive sensory problems with audio and perhaps if my recordings could help this.
That the science, as well as the artistic research in the essay, can allow for the creative practical project to have the rules and statistics or information to guide the process. To not just create with motivation and spontaneity but also with an idea of what the goals are within the project. With active listening and deep unconscious listening.
Really great feedback that has given me more perspective and drive towards this essay. Instead of dreading the essay, I do believe this is a chance to do the research for the practical. So when I begin the recordings I can already know what I have to do in terms of the theory behind it. The meaning, and goals.
The next step for me really is to do research. Acquire thoughts ideas and delve within the field recording/wellbeing area once again.
I have been taking it easy on the actual thought process behind my essay coming up for submission. I have been allowing thoughts to brew within and allow me to manifest them into physical actions through curiosity rather than need. I have been thinking about my last audio paper in that I spoke about field recordings, noise pollution and the effect this has on humans. I wish to perhaps elaborate on the field recordings section.
I find more and more my practice of field recording to be captivating me towards a potential career goal and also theoretical ideas. I enjoy the escapism that field recordings present. The idea of hunting for sounds, locating where things are. The outdoors of recording within the field. As well as the positive effects field recordings of ambience and locations can give us in terms of wellbeing. Escaping modern-day city lives with a pair of headphones. Close your eyes and you can be in a beautiful peaceful forest, even a beach.
I’m curious about creating an album of music towards this for part two of my hand in submission and using part one as research for the critical guidance the second part requires. Instead of just recording sounds and creating things I associate with relaxation and escapism as well as benefits to my wellbeing. I believe a greater approach would be to use part one of the hand in the submission of the essay section to research and speak about the importance of field recording with an interest in deep listening. The abstract art of field recordings, escapism? Well, being, research into meditation. Not stereotypical but meditation within works such as field recording. And perhaps immersion with soundscapes into VR worlds. Again this is quite a large subject as they have always been with and 2500 words aren’t enough to capture and speak on everything together so I’ll attempt to refine these thoughts but creating some abstracts as the last term with the audio paper worked for understanding if I it’s even possible within the 2500-3000 word constraint.
I’ve been curious to read into practitioners of field recording and understand why they wish to do this, such artists as Hildegard Westerkamp really do captivate me with her compositions.
I have managed to find a few books which capture my curiosity, and seem to have similar themes associated with, they are.
In The Field: The Art Of Field Recording by Cathy Lane and Angus Carlyle
On Listening by Cathy Lane and Angus Carlyle
Writing the field recording: sound, word, environment / edited by Stephen Benson, Will Montgomery.
Autumn leaves sound and the environment in artistic practise/edited by Angus Carlyle.
After completing a curatorial residency at Wysing Arts Centre as part of Future Curators Network; a programme supporting the career development of D/deaf and Disabled Curators, in partnership with DASH, Hannah now works full time within the Wysing team. Committed to the long-term application of accessibility practices within the arts and working rights of artists, Hannah has worked with Aural Diversity, Deafroots, The National Gallery, London, DASH and ZU-UK; and serves as associate board member for a-n Artists Information Company as well as trustee for Two Queens Gallery, Leicester. Having previously worked as part of the exhibitions team at Nottingham Contemporary, Hannah currently works in an associate capacity to lead on Caption-Conscious Ecology. Hannah is also one half of Dyad Creative, a Franco-British collaboration previously supported by a-n, East Street Arts, National Centre for Writing, Kettle’s Yard, and Arts Council England to lead and develop several temporary artist-led spaces and multiple public art projects.
Her bio shares information about her passions it seems in acessability. It also states in her bio that she finished a residency with the future curators’ network, a program supporting deaf/disabled curators.
I’m interested to see what her views are as a curator and how can we make art and spaces as accessible as possible.
Dr Annie Goh also sent us an email dictating the access requirements that Hannah needs for our visiting practitioner element. Where Hannah explains that she is deaf and requires a few sets of things to help her with the acessability of communication in this online environment. I find it interesting to understand perhaps if she wishes to, her feelings towards sound arts as a medium coming from the perspective of someone who is deaf. How does engaging with sound to hear operate?
The Art of Captioning
Hannah is currently working on a research project into acessability for art centres across England. Since covid 19 many galleries and museums have had to shift and learn how to present their work online for others to consume and enjoy. Many have had to caption and include ways for the deaf and blind/disabled to enjoy these works just as much as others. This research project is into captioning work and how to do it best for each specific situation. To create a broad example of situations to present galleries and museums how to make their work more accessible for others.
I think this is a really important part of art and society in general. I do find in most aspects I am privileged and do forget sometimes about acessability issues with my work. I never write captions or include subtitles. Perhaps I should think about this, for both the sake of myself and the consumer.
Hannah also runs a company with her peer Théodora Lecrinier called Dyad Creative. This company is mainly focused on managing places and artists’ work and allowing artists the opportunity to present their works in new spaces. It seems like Hannah is mainly focused on curation than personally presenting her own work.
Post Lecture Reflection
Hannah begins by explaining her background, she did a degree in fine art and an MA in performance art. And since completing her MA she has been thinking about how we bring people into spaces.
She also mentions that she felt anxious and nervous about speaking on a sound art degree lecture as a visiting practitioner. She’s been deaf since she was 18 months old. And because of this since she was young she’s worn a cochlear implant.
She slowly lost her hearing in her twenties and found herself becoming full deaf once she got into her late twenties. When she lost the best of her hearing she underwent an operation to receive a cochlear implant. And it gave her access to sound she’s never heard before.
This access to the cochlear implant gave her a newfound experience with sound and changed her view of how we exist with sounds in our environments. How sound helps us relate to other people and habits.
One of the first projects Hannah show us wasn’t necessarily working with sonics but to her, this was the first project she was able to work with space. That didn’t just rely on one sense of the human body.
She begins to show a video with a hip hop beat and shows specific works in an environment. This wasn’t a specific sound exhibition.
This led her to start to think about how to present sounds in different ways in her curation. So the next project that has brought her to do this was a project she did with Ain Bailey Version. She was selected to take on the curation of this. It was about broadcasting as a communication tool, and she discovered Ain Bailey and began speaking about her work.
She then showed a video of Ain Bailey explaining her work.
Ain explains this was a love letter to her Jamaican heritage, There were three parts of this exhibition. She created and recorded herself making saltfish and used the sounds into a composition to play in the gallery space. Martha todd created the ackee sculptures and she originally wanted to fill the gallery with the ache plant but instead, she got someone to create sculptures of them.
Another element of her installation in a gallery space was to play linstead Markey a famous folk song she heard as a child in the entrance of the gallery.
Finally, in the small space in the garden of the gallery, it was a love letter to dub. She received some bass lines from Mathew Ritson, and she created her own dub song. Hannah mentions the main point of the exhibition was to give Ain space to speak about her sonic history in this space. And Ain had already been thinking about this already.
She goes on to speak about captioning, it’s to capture audio content into text onto the screen. This is something she says will be used more and more once we understand how to use captioning as a tool. Artists are now considering to do this to their sound work. This project for her was a real turning point for her practice as a curator.
She thinks and believes we need to change the way we approach accessibility and this needs to be integrated into daily practice and not seen as an add on and something that comes at the end of a project when you don’t have much budget or resources left. That’s what became the core of her work now. She now believes that sound is something that can be moved into the realm of those who are hard of hearing or deaf to experience this work.
Her idea is, how do we caption work that currently exists? How do we approach the accessibility of those works? How do we do that sensibly ? The people that enter these spaces may not enter on equal terms. How do we invest this in artwork, live work? Music nights, live events. performances, sound work? How do we experiment and play with these really useful tools? Which will add to the work not take any from it.
How do we visualise sounds, there is a lot of words that are connected to sonic understanding that might not be in a dictionary of someone that isn’t fully immersed in a sound world. How do we move beyond certain words that might not mean something to someone who is deaf? How do people understand these terms?
She explains it similar to being blind, and if you’ve always been blind how can you understand colours? She explains it’s the same with deafness there are certain terms that make it difficult to engage or understand the caption.
The physicality of sound she explains does go beyond listening, it can be experienced through touch and vibration, different translations of sound. The word translation is the word that comes up, time and time again as she develops this work. And so she’s going to end it there and bring It back to the concept of care. For her to work with sound is to take care of it in a different way and find ways of sharing sound with people that haven’t experienced it in different ways.
I found Hannah’s lecture to be captivating and informative without portraying a negative light to her issues. I do find perhaps sometimes Politically correct topics can make me feel overwhelmed as I usually do agree with what’s being said. But I find the way of resolving these issues to be immensely difficult and require a rebuilt attitude amongst our society. I did find her views on captioning work to completely make sense, I agree thoroughly with what she stands for. And I definitely will attempt to make my work more accessible to more people in the future. It was also interesting to see her perspective on sound arts from a deaf person that experiences sound differently than we do.
After the lecture, I started thinking about the essay we have to write and the topic I should do. I have felt that since the first essay in the first year where I wrote about the history of bossa nova music and then the most recent audio document on noise pollution and the role a sound artist could play in sound designing cities and combating this issue. It’s given me a deeper understanding of my academic goals and what I intend to get out of writing this. Initially, I haven’t been too fond of academic writing, mainly for its difficulty amongst someone like myself who is dyslexic and ADHD as well as more of a creatively chaotic person. I have found enjoyment in seeking out topics I have a little or basic understanding of and writing or adding to the cannon.
Specifically, in my last audio document, I didn’t intend my audio document to just be for the hand in. I saw it as my contribution to the academic field in some way or another. The more I study the theoretical side of sound arts the more frustrated I do get, specifically towards what is considered sound arts and what can be sound arts. Whether it can be a mixture or does it have to be sound arts in its purest form. As well as who created and dictates the cannon? I don’t see many people like myself in this sound arts academic field, a working-class immigrant from Brazil who grew up in a council estate. And does this beg the question of there is room for someone like me to be respected In the field?
I have an idea of writing about the sound arts cannon and specifically what makes something sound arts? And what the predominant themes are. Why cant things from my culture such as rapping be seen as sound arts? Why is that?
Another idea I have coming from my audio document is deep listening. Using field recordings as a practice to engage with mental health. As well as this the hand in speaks on how it should be a contemporary issue in sound arts. I do find the relationship between escapism, field recordings VR and the meta verse to be something interesting. They are all intertwined in my opinion. For if the future will be mainly in the metaverse, how can we recreate these environments such as forests, lakes, The ocean? In this new digital environment. As well as if there is room for fake environments within these places. Can we create an even better world in the meta verse, in terms of sound?
I’m more leaning towards the second option. I have really been interested in field recordings and their effects on human psychology. Living in London and wanting to be noise pollution free is what has spurred these thoughts. I want to do more research into deep listening and into field recording practitioners and their thoughts and other essays as well.
I think the best way of dealing with ocularcentrism is perhaps to understand that ocularcentrism has some valid points. Also to consider whether it is a negative thing or positive? Or if that even matters in this sense. To understand how ocularcentrism affects our other senses and the reflection society takes from this being a thing in western society.
I do believe understanding is the first step towards losing a drilled belief. I find that we do live in a very visual society, where clothing and other things can showcase higher superiority and wealth status. I think creating pieces of work that showcase the powerful sense that is sound can allow ocularcentrism to not be a thing happening in our society.
If there were equal festivals, to celebrate sound pieces. If the sound was as recognised as the other medium when collaboration occurs. If film directors were as well respected as sound directors. Then perhaps others would agree with why ocularcentrism is a negative thing.
I do find that it’s also the modern society we live in that makes us this way, and our evolution. At least in my opinion other animals that have weaker vision have increased audible senses. For example dogs and other animals. The need for hearing and smell is more important than a vision for them. I believe it’s similar for humans, we have a limited spectrum of 20hz – 20khz that we can listen to for a reason. We have evolved to only need these. You also do find that the music industry values the artist’s looks and aesthetic as more important than the music. More is spent on jewellery and expensive clothing, music videos and other visual aspects of a release instead of the audio.
I found this article to reach out towards my own beliefs of senses and our hierarchy this modern western society holds towards sight. I was having a conversation with my mum about this, after my trip to the British sound library in the previous term. I found it disappointing that a sound library is so much less used and available than a literature library. Books are more valued than sound. To archive, sounds is a strange not usually heard thing to do. Film is archived as well, much more than sound. You can find pictures of a Dodo and most people have seen a photo of one. Now if you ask someone if they’ve ever heard a sound of a Dodo? Whole different story.
This excerpt does speak on the theory of why this is a thing. For optical and visual is highly prioritised in our western society, much more than audio. This in turn led to a larger research enquiry into creating visual products and machines. The advancement of cameras and cinema came before the audio. recording a photo came before the audio.
This excerpt also speaks on the differences in other societies and the value that the senses hold. For example in our western societies, we assume and believe that other senses are lesser than others. We see touch and taste as a more primitive sense than for example sight and touch.
to associate the ‘lower’ senses with the ‘lower’ races. As sight and, to a lesser extent, hearing were deemed to be the predominant senses of ‘civilized’ Westerners, smell, taste and touch were assumed to predominate among ‘primitive’ non-Westerners
I find this to be accurate, since colonisation. The western world has had an obsession with believing they are the superior race or society. It’s an interesting reflection of my own perception that I received growing up in Brazil. Most people actually associate western values as something horrible, being on our phones, our technological advancements and even the way we treat our family members is seen as an undesirable way of living.
I do believe this article brings up great points I hadn’t thought about before. I think this does deserve some deeper research, especially towards the essay that we have to hand in in the coming weeks. I think I want to enhance my previous audio document from the last term and see what I can extract and amplify that perhaps I didn’t or couldn’t fit in the ten-minute window.
