Aurality

Este curso invita a explorar las complejas relaciones entre sociedad y naturaleza a lo largo del siglo xx y xxi en Latinoamérica. Se analizará cómo los entornos urbanos y rurales, lejos de ser opuestos, están profundamente interconectados y cómo sus interacciones han moldeado nuestro presente. A través de un recorrido por diversas regiones, desde México hasta los Andes y desde el Caribe hasta el Cono Sur, se desentrañarán las dinámicas compartidas que trascienden las historias nacionales. Se trata de comprender mejor los desafíos ambientales de hoy y cómo nuestras ciudades y campos han evolucionado juntos en esta historia compartida.

El relato y la puesta en práctica de la experiencia que aquí presentamos consiste en el trazado de recorridos por calles de la Ciudad Autónoma de Buenos Aires. La selección de cada circuito se caracteriza por su sosiego, un contexto territorial que abre la oportunidad de prestar atención auditiva a estos entornos de bajo impacto de contaminación acústica1 en zonas urbanas (Domínguez, 2011). En este escenario se estarán poniendo en práctica los llamados paseos sonoros - soundwalking (Schafer, 2013; Westerkamp, 1972). Los recorridos a realizar por la ciudad, que de ahora en más llamaremos CASU (Circuitos Aurales de Sosiego Urbano), son replicables en diferentes ciudades. El tema de esta experiencia es parte de un área más amplia, perteneciente al proyecto de investigación y producción denominado Red de Circuitos Aurales (Luna, 2022, 2023) con radicación en la Universidad Nacional Tres de Febrero, Buenos Aires, Argentina.

De aliado a arauto: O rádio nas canções sobre catástrofes From ally to herald: The radio in songs about catastrophes De aliado al heraldo: La radio en canciones sobre catástrofes Nísio Teixeira e Ricardo Lima Resumo O presente trabalho parte de considerações gerais sobre a relação entre canções e catástrofes, sobretudo a partir da relevância do rádio como elemento de experiência social, propondo um inventário em torno de seu papel nessa tipologia de canções, selecionadas a partir de pesquisa exploratória em bases de dados diversas na internet. Como resultado da pesquisa, duas indicações da ação do rádio emergem das canções sobre catástrofes detectadas: seu desempenho como aliado no processo de mitigação da catástrofe e seu papel como arauto da má notícia catastrófica, numa gradação que vai da simples menção a um dado acontecimento trágico até um alto nível de detalhamento do fato catastrófico, entre outras características. Palavras-chave Rádio; canção; catástrofe; desastre; tragédia.

Inferno 24 and 25 contemplate the harm that theft perpetuates not just on individuals and communities, but on a thief’s own identity. The type of theft punished in this Bolgia is covert, and its contrapasso is a continual negation of the human body and being. As has long-been observed, the figure of writing is central to these cantos, and commentators have posed many theories as to the ways theft and writing are linked in Dante’s mind. What has not been discussed, however, is how the ‘characters’ O and I of Inf. 24.100, may further unite the acts of theft and writing. If we look at these two letters not just as letters, but also as numbers, questions of having and not having, being and not being come into view. This chapter explores what seeing symbols-on-a-page change their identities may add to our understanding of Dante’s critique of the shifty transformations at the core of theft and of writing. Both acts are about making marks, or not—creating objects that count or things that leave us empty—and both prompt us to think about as much about the handiwork of a poet as the slight-of-hand of a thief.

Using selected case studies from Georgia and Ukraine—two countries
linked by recent Russian aggression—this article outlines theoretical and
practical approaches to understanding questions of coloniality, decoloniality,
and representations of changing national identities in Soviet and
post-Soviet art music. This article situates for the first time the experimental
activity in both the Georgian SSR and Ukrainian SSR in the 1960s as an
incipient decolonizing movement that laid the foundations for stylistic explorations
and overt expressions of national identity by composers such as
Natela Svanidze, Teimuraz Bakuradze, and Mikheil Shugliashvili in Georgia
and Valentyn Sylvestrov and Leonid Hrabovsky in Ukraine. This early
experimentation carried over into the 1990s and the first decades of the
new millennium as both Georgia and Ukraine wrestled with establishing
distinctive post-Soviet politics and cultures against the backdrop of their
halting vectors away from centralized Soviet oversight. One of the article’s
central arguments is that by examining the specific ways in which music in
the USSR—and especially musical Socialist Realism—was used to articulate
and enforce an imperial identity, we can reveal the USSR as a colonialist
enterprise more clearly than by investigating its geopolitical maneuvering
alone.
Keywords: Natela Svanidze, Mikheil Shugliashvili, Teimuraz Bakuradze,
Borys Liatoshynsky, Valentyn Sylvestrov (Valentin Silvestrov), Leonid
Hrabovsky

Existe una relacion fuertemente arraigada en el imaginario colectivo entre el fenomeno que conocemos como  ruido  y esa configuracion sociocultural a la que llamamos  ciudad . El presente trabajo situa el nacimiento de esta relacion durante la Revolucion Industrial, una epoca que se caracteriza por la convulsion de las estructuras economicas, politicas y culturales, y que tambien impacta el plano sensible del habitar urbano. En el presente trabajo daremos cuenta de la transformacion que se opera en el paisaje sonoro de las ciudades industriales de Francia durante el siglo XIX, donde la movilidad poblacional, la densidad urbana, la maquinizacion y el ritmo de vida son los factores que estan detras del surgimiento del ruido como problema de contaminacion ambiental y de salud publica, y de la transformacion de la sensibilidad colectiva que deviene un nuevo modo de percepcion sonora.

Este trabalho investiga processos e procedimentos presentes na criação e difusão de obras originais de radioarte. A produção artística do próprio autor é o foco principal desta pesquisa, cujo objeto é uma arte acústica mediatizada, de natureza polimórfica, híbrida e transgressiva, sem definição absoluta. A investigação assume um caráter orgânico, baseada em abordagens de um saber encarnado. A escrita, uma experiência. A genealogia da radioarte pode ser traçada desde o início do século XX, no encontro do rádio com as vanguardas artísticas. Ao longo da história desse veículo de comunicação de massa, a experimentação estética esteve sempre presente. Para além da radiofonia pública, cultural e educativa, a expressão artística em linguagem radiofônica pode hoje encontrar seu público nas novas práticas de produção, distribuição e consumo de áudio, como rádios online e o podcasting. Na inaudita diversidade que caracteriza a audiosfera digital percebida na Internet, movem-se constelações de inclassificáveis criadoras e criadores sonoros. Este trabalho deu origem a um corpo de peças que pode ser dividido em dois grupos: miniaturas e três peças mais longas, articuladas como três painéis sonoros.

Este artigo discute CriptoSonido: Aleph, radioarte e instalação sonora. Obra e reflexões estéticas relacionam-se com pesquisa de tese-criação. A expectativa foi criar peças que permitam a evocação de conhecimento não discursivo, explorando potencialidades sinestésicas do som mediatizado. Processo artístico e compreensão teórica foram abordados de maneira dialógica e eclética, a partir do reconhecimento de um saber operativo e do desejo de produção de presença. À luz de noções extraídas da Cultura do Ouvir, da Filosofia da Técnica e Teoria da Formatividade, buscou-se o estabelecimento de vínculos significativos com um ouvinte ideal, bem como a compreensão aprofundada do fazer artístico em rádio e mídia sonora. Magia e técnica, ciência e arte, iconicidade e abstração, correspondências e deslocamentos – estas são algumas das ideias trabalhadas.
PALAVRAS-CHAVE: radioarte, arte sonora, arte mídia.

This article provides a compressed examination of sound studies, wherein the author explores the nexus of sound and listening as pivotal junctures intersecting semiotic and phenomenological discourses. At the same time, sound and listening are clarified as perplexing lacunas in the philosophical realm of sound. The study focuses on sound studies as a subject of inquiry to scrutinise its ontological underpinnings. Additionally, the article delves into the conundrum of why investigations into sound-related issues have predominantly occurred within the realms of science and art, often remaining confined within the purview of technology. In addressing these questions, the author seeks to elucidate the limitations of the current discourse on sound. The article explores the dimensions of representational sound, soundscape, and sound installation, thereby broadening the scope of inquiry within the field of sound studies.

During the first three decades of the twentieth century, Colombia introduced new technologies of mechanical reproduction of sound due to increased participation in transnational commercial networks. Simultaneously, migration from rural areas, industrialization processes, and urbanization transformed Colombian cities and quotidian life. Among these changes was the resignification of urban public spaces as “owned” by the state, which entailed the control of citizens’ behaviors. This chapter examines how the interaction between people and new technologies fostered a reconfiguration of the sonic sphere, established changing forms of aurality, and informed space experiences, transforming sounding and listening into significant parts of modernization processes. Analyzing the first anti-noise campaigns implemented in various Colombian cities in the 1920s and 1930s, this chapter reveals how the concept of sound hygiene served as a vehicle to advance notions of ethnicity and race informed by eugenic discourses that intertwined and created symbolic instruments of social classification and control, while it also illuminates some of the strategies that local communities developed to resist them. Ultimately, this chapter is about how “noise” became an object of state intervention and political bargaining.

La presente propuesta analiza las relaciones entre la música del colectivo ‘La Distritofónica’ y el paisaje sonoro de la ciudad de Bogotá, Colombia. Con base en información paratextual y metatextual que algunos de sus integrantes y terceros realizan sobre su producción artística, se analiza cómo tal información puede ser entendida como inscripción de la escucha y, en conjunto con la música misma, como metáfora del paisaje sonoro de la ciudad de Bogotá. En este orden, se plantea que la producción artística de ‘La Distritofónica’ parte de la estesis de dicho paisaje o régimen acústico para constituirse marco musical, esto es, significado de dicha exterioridad. Sin embargo, hablamos de una metáfora de la ciudad abyecta (Alegre y Hernández 2018) que critica escuchas hegemónicas que se han construido desde las epistemologías occidentales para hablar de una Bogotá subalterna que se entiende desde las categorías semánticas de la disonancia y el ruido.
Si bien algunas de las descripciones sobre la música “distritofónica” surgen de clasificaciones del tipo género musical –música experimental, improvisación libre, jazz psicodélico, free jazz, entre otras–, se delata la manera en la cual existen paratextos y metatextos circunscritos a categorías de descripción típicas de la apreciación musical occidental –particularmente a la dicotomía disonancia/consonancia en relación con el concepto de ruido (noise). Hablar sobre este tema permite abrir preguntas respecto a la manera en que se configura una auralidad que devela, sucedáneamente, un régimen aural particular. Siendo más enfáticos, tal auralidad permite describir la manera en la cual la música de ‘La Distritofónica’ funciona como mecanismo político que subraya discursos específicos que apelan a la ciudad de Bogotá y su paisaje sonoro ¿Cómo se describe, entiende y comprende la música del colectivo ‘La Distritofónica’ en relación específica con tal paisaje?, ¿Podemos hablar de una auralidad que se representa y configura en y desde la música de ‘La Distritofónica’? Preguntas como estas son base del trabajo, sin anular subsecuentes relacionadas con el funcionamiento de las categorías y medios de inscripción sonora y escrita occidental, así como la revisión crítica del concepto de música experimental latinoamericana en el marco teórico decolonial. Temas todos que giran alrededor de la denotación de regímenes aurales que revierten, transgreden y crean nuevos modos de escucha.

In this paper, I employ ethnography, history, sound studies, and more to examine the persistence of political ideologies in the ways in which the Italian diaspora has been listening to itself. Starting from my personal journey throughout the Italian American communities, I reflect on the relevance of the acoustic dimension to develop a sensory narration of the experience of the Italian diaspora.
I introduce new research about the Italian diasporic radioscape in Boston’s North End in the interwar years, in which fascist ideology and listening practices have combined to shape the Italian immigrant identity in that area. I illustrate how: a) the radioscape of the Italian “foreign-language” radio programs migrated into the Catholic religious festivals’ soundscape to escape the system of power and acoustic control that the US Federal Communication Commission put in place; b) sound technologically mediated manipulated listening choices for the Italian diaspora in those years; and c) the intersection between mediated sound, experiences of listening, and self-cognition converged to shape a sensory self-understanding among the Italian immigrants.
Ultimately, I discuss a theoretical approach to a sonorous investigation of the Italian diaspora by placing crucial emphasis on the self-reflexive aspects. I argue that the introduction of new forms of data — for example, how sound technologically mediated was linked to processes of redefinition of ethnicity in diaspora, or how soundmarks coming from Southern Italy facilitated processes of assimilation and renegotiation of power relationships abroad — will expand the traditional approaches to studying socio-economic conditions, including the role of politics, in the larger field of diaspora studies.


Keywords: soundscape, radio broadcasting, acoustic restanza (remaining), fascism, self-reflection (Italian diaspora)

Resumen: La  frontera  sónica  es  un  estado  sensible.  Es  la  percepción  de  una  presencia  corpórea  de  sonoridades  que  circulan  en  espacios-tiempos:  acciones,  emociones y comportamientos. Expertos ceremoniales wixaritari de Tierra Azul identifican con el vocablo  ́enierika: visio-audiciones o audito-visiones (nierika) en intersticio  auditivo  divino  liminal,  en  demanda  de  las  analogías  de  la  historia  ancestral  y  la  práctica  ritual.  El  renacer  de  la  vida  es  agenciarse  del  control  y  permanencia de las lluvias, de consumar los ciclos de la oscuridad-luz. Por la cos-mopolítica, la iconicidad sónica divina interviene en límites territoriales agrarios, la defensa del territorio cosmogónico y en controlar los desacuerdos ancestrales.Palabras claves: antropología de los sentidos, frontera sónica, nierika, ‘enierika, wixarika, cosmopolítica, liminalidad.

Performative methodology of the House of Extreme Music Theater led by Croatian, Zagreb-based performing artists Damir Bartol Indoš and Tanja Vrvilo is largely based on the creation, recycling and abundant use of sound objects, deconstruction of voice and text, and collaborations with alternative rock and noise musicians and multimedia artists. But precisely because of its apparently chaotic, noisy manifestation, it is easy to miss the structure and concept that is undoubtedly in the background of every performance. If we take into account the predominance of music and noise in such an open model in terms of genre, it would be appropriate to try to define theoretical and methodological guidelines for its description, which this article will try to do. Observing the work of House of Extreme Music Theater, the following questions arise: How does its “noisy” poetics affect the definition of genre and analytical approaches to it, and, conversely, how does the chosen genre framework affect the status of noise that is produced in the performances of this “theater”? In this sense, the article will refer to the previous theoretical reflections on the House of Extreme Music Theater genre coordinates while trying to expand them with the concepts of independent auditory semiotics and musicalization, closely related to the notion of postdramatic theater as proposed by Hans-Thies Lehmann. Finally, the analysis of the music theater performance Schachtophonia Accenni for Kamov will try to show how the broad and permeable postdramatic determinant shapes the interpretation of noise in theater or noise as theater.

El curso “Ver, oír, tocar, oler: tendencias actuales en estudios coloniales latinoamericanos” realiza un estudio histórico-crítico de producciones discursivas y no discursivas de América Latina y el Caribe, entre los siglos XVI y XIX. La primera unidad constituye una introducción al curso como tal y a los estudios coloniales latinoamericanos y caribeños (Mignolo, 1986). A continuación, se desarrolla un recorrido histórico-crítico por textos/discursos/objetos primarios, y también secundarios de carácter teórico-crítico, que abordan problemáticas políticas, ideológicas, culturales y discursivas, cuyo estudio intenta explicar el desarrollo de experiencias coloniales y postcoloniales producidas entre el siglo XVI y el presente en la denominada “América hispana” y el Caribe, en articulación con otros espacios globales. De ese modo, la segunda unidad se dedica al estudio del siglo XVI, que particulariza el abordaje de conflictos de la memoria de la conquista por medio del análisis desde la perspectiva de los estudios visuales del Códice florentino (¿1540-1585?). La tercera unidad presenta problemáticas raciales del siglo XVII analizadas por medio de los estudios aurales, del sonido y la escucha, enfocándose en el estudio de los villancicos negros (1676-1692), de Sor Juana Inés de la Cruz, en relación con su musicalización por el grupo Rak ric rak! en Tumba La-Lá-La (2007). Por su parte, la cuarta unidad confronta las culturas manuscritas y la crítica ilustrada del siglo XVIII por medio del estudio del manuscrito Las endechas de D. Antonio de Solís, defendidas contra la crítica del académico don Juan de Yriarte (1788?), de Manuel del Socorro Rodríguez, enfatizando la práctica de la paleografía como herramienta auxiliar de los estudios coloniales. Finalmente, la quinta unidad introduce el estudio de las culturas de los olores a través del análisis de El lazarillo de ciegos caminantes, de Alonso Carrió de la Vandera.

This volume examines the entanglements between contemporary art practices, ecology, and non-human subjects through contributions from scholars, art writers, critics, artist-researchers and designers. The collected essays reveal contemporary art’s potential to reorient epistemological and ontological coordinates amid ecological and existential crises, questioning human exceptionalism and the exploitative logics of extractivism and planetary industrialization. Central to the volume are issues of environmental degradation and violence, racial capitalism, colonial legacies, the emergence of the Anthropocene, in relation to the diverse terrain of contemporary art practices. Emphasizing the agency of more-than-human collaborators, from animals to microbial ecologies, and from oceans to nuclear waste, these practices expose injustices, reclaim damaged ecosystems, and propose alternative ways of being in and with the planet. Artist-researchers contribute perspectives that open up new avenues for knowledge creation in the disrupted landscapes of the Anthropocene, pointing to symbiotic relationships between humans and non-human entities that are only beginning to be explored. By sharing theoretical frameworks and languages, the artists’ and writers’ contributions make clear that the environmental crises impacting the ecosystems require new collaborations to build common epistemological grounds, and shared visions of planetary futures.

En este diplomado ofrece una aproximación transdisciplinaria a los estudios del sonido y la escucha, situada en la intersección de las ciencias sociales y las humanidades, con la intención de configurar una perspectiva compleja en torno a un objeto común: el estudio social del sonido.

En sus modos de dar cuenta del avance extractivista, el despojo territorial y el exter- minio del mundo ayoreo, La memoria del monte (2018) y EAMI (2022), de la direc- tora paraguaya Paz Encina, proponen una estética de la memoria que dialoga con la cosmovisión y la concepción del espacio de esa comunidad. El trabajo de memoria asume aquí una cosmopolítica que redefine las relaciones entre humanos y más que humanos en un territorio determinado. A partir de estudios sobre nuevos materia- lismos, las reflexiones sobre ontologías amerindias y la antropología del sonido este ensayo busca discutir sobre los modos en que los ejercicios de Paz Encina rearticulan el orden de lo sensible para incluir la expresividad y la agencia de lo “más que huma- no”. En este sentido, me interesa analizar cómo el trabajo sonoro pone en escena un materialismo vibrante de un mundo que “se hace escuchar” y permite no solo transmitir una memoria del territorio en proceso de destrucción, sino que traduce en términos aurales un modo de experimentar la continuidad entre el bosque como espacio geográfico y el bosque como una multiplicidad ontológica repleta de relaciones, perspectivas y temporalidades.

This text was composed for oral presentation: written by ear to be (read as) heard. It stages an experiment (-expérience‖) with sound, and, as a written text, with the sight of sound on/off the page in order to at once solicit and perform the relationship between resonance and responsibility it seeks to explicate and expose. It begins therefore with a listening exercise consisting of the first 33 seconds of a popular song, which is not identified in the text in order to preserve the integrity of the experience (experiment) upon which the success of the paper depends. It is important therefore that you read the text aloud and listen to the accompanying sound recording only as and when instructed to do so, letting the rhythm and sonority of the first and subsequent listening examples, and the spacing of the words on the page, set the pace and tone of your own-resonant and response-able-reading. The sound recording is not an optional extra: it is not included as an example you can listen to at any time but is absolutely integral to the composition (the-sens,‖ i.e., the meaning and direction) of the written text. So please do not cheat! Read the text aloud and listen to the sound recording only as and when instructed to do so at sections 1, 7, and 11. Source material and scholarly references are provided in the endnotes, which should not be consulted until after your first uninterrupted reading of the paper. Thank you!

Introduction to Part 2 171 Jamii: Topical Issues on Lamu 175 1 Amu ("Lamu") 175 2 Bandari ina mawimbi ("The Port Makes Waves") 186 3 Jahazi ("The Dhow") 190 4 Tupijeni makamama ("Let Us Embrace") 192 Ilimu: The Importance of Education 196 1 Mwalimu ("Teacher") 196 2 Kilio huliya mwenye ("Change Begins at Home") 200 3 Kiswahili ("Swahili") 206 4 Za Washirazi athari ("The Influence of the Persians") 214 Huruma: Social Roles and Responsibility 218 1 Mama msimlaumu ("Don't Blame My Mother") 218 2 Jilbabu ("Veil") 223 3 Mchezo wa kuigiza ("Play") 228 4 Haki za watoto ("Children's Rights") 235 5 Wasiya wa mabanati ("Advice to Young Women") 274 Matukio: Biographical Poems 319 1 Hafi asiye timiwa ("No One Dies before His Time Is Up") 319 2 Mlango ("The Door") 324 Maombi: Personal Poems of Supplication 328 1 Hapo zamani za yana ("Once upon a Time") 329 2 Tunda ("Fruit") 355 3 Kipande cha ini ("Piece of My Liver") 356 4 Mola zidisha baraka ("God Increase Your Blessings") 360 5 Yasome na kukumbuka ("Read and Remember") 365 All pictures belong to Ustadh Mau's private archive unless otherwise indicated. Ustadh Mahmoud Mau at the British Institute in Eastern Africa in Nairobi, 2009 viii Ustadh Mahmoud Mau during a reading at the Iwalewahaus, University of Bayreuth, 2015 xix Ustadh Mahmoud Mau at home reading the Texas Review given to him by his American neighbour 10 The District Commissioner awards Ustadh Mahmoud Mau a medal for his outstanding commitment for education on the Kenyan Jamhuri Day 29 The poet at the entrance of Asilia Bakery on Lamu in 2000 40 Ustadh Mahmoud Mau at the beach on the island in 1967. Behind him the motorboat of the District Commissioner 68 A bookshelf in Mahmoud Mau's private library 94 Ustadh Mahmoud Mau as a small boy in 1963; next to him a kiti cha enzi, a prestigious, commonly shared Indian Ocean piece of furniture from the epoch of Portuguese rule 132 Excerpt from the booklet Yā-bintī by al-Ṭanṭawi, eg 1406/ad 1985, 28 141 The cover art for the three Wasiya tracks available on SoundCloud 148 Original first (right) and last (left) page of Ustadh Mau's Wasiya wa mabanati, composed and handwritten in Roman script in a notebook 151 Barka Aboud, Ustadh Mahmoud Mau's mother, in 1968 168 Ustadh Mahmoud Mau and his photo album 171 Ustadh Mahmoud Mau giving a speech to motivate adults to have their children vaccinated against polio during the time of the maulidi celebration around 2010 175 Ustadh Mahmoud Mau visiting a school in the village of Barigoni on the mainland 196 Ustadh Mahmoud Mau reading Mama Musimlaumu at the Jukwaani Festival in Nairobi in 2009; in his hands the newspaper report which inspired his poem 218 First page of the manuscript of "Haki za Watoto" in Ustadh Mau's handwriting 273 First page of the manuscript of the "Wasiya ya Mabanati" in Ustadh Mau's handwriting 318 Ustadh Mahmoud Mau sitting in front of the oven in his bakery in 1988 319

This paper has been explicitly composed for oral presentation: written by ear to be (read as) heard. It stages an experiment/experience (expérience) with sound—and in the written text with the “sight” of sound—in order to solicit and engage the becoming sens(e) of sound in the space between resonance and response-ability it seeks to explicate and explore. The presentation begins with the sound of the first few bars of a popular song (whose identity I am withholding in this submission in order to preserve the integrity of the expérience upon which its success depends), which is eventually heard in its entirety and which constitutes the point of departure, reference, and return—of resonance and response-ability—for the composition as a whole.

El curso contribuye al estudio transdisciplinario de textos, discursos y otras producciones culturales originados “en” o “en relación con” las Américas y otros espacios globales, al menos durante los siglos del XVI al XIX, desde perspectivas teóricas recientes como los estudios visuales, los estudios aurales, del sonido y la escucha y los estudios de cultura de los olores. El proceso de formación se articula a través de teorías de aprendizaje e investigación basados en problemas, que orientan metodologías para el desarrollo de análisis teóricos, historiográficos y críticos desde las perspectivas teórico-críticas de lo colonial en relación con la colonialidad del presente. De igual modo, ofrece herramientas sistemáticas de investigación, escritura académica y comunicación oral aplicadas al campo específico de estudio. Este ejercicio pedagógico e investigativo se propone así contribuir a que los estudiantes potencien su compresión de contextos de producción, circulación, comercialización y recepción de dichas manifestaciones y fenómenos, y ejerzan comportamientos que privilegien su participación en procesos de justicia social.

A partir de un ejercicio de “equivocidad controlada” (Viveiros de Castro 2004; 2010, 71- 74), en este artículo reflexiono sobre el lugar del concepto de música en la acustemología mapuche. El texto está estructurado en tres secciones: en la primera discuto las propuestas conceptuales sobre música mapuche elaboradas por autores y autoras durante las últimas décadas; en la segunda, reviso algunas categorías clave de la lengua mapuche relacionadas con el sonido; por último, comento el trabajo de las autoras que abiertamente resisten el concepto de música y propongo algunas ideas sobre la posición de la etnomusicología en esta discusión. La examinación de las aproximaciones desarrolladas en torno a este debate me lleva a concluir que la resistencia mapuche al concepto de música es otra expresión de un proyecto descolonizador que invita a pensar desde los desajustes en lugar de intentar llenar aparentes carencias conceptuales. Propongo que puede resultar más provechoso reflexionar sobre la acustemología mapuche situando a la categoría música en un lugar periférico. Posicionarla en el centro ha producido en parte una etnomusicología normativa. El camino que sugiero es el opuesto: una etnomusicología no taxonómica que desplace el concepto de música al banquillo.

For at least thirty years, scholars have debated the centrality of physical and embodied presence as essential to the experience of theatre and performance. A debate that was perhaps largely academic suddenly became a shared reality when COVID-19 shuttered live venues, closed universities and moved artists of all kinds online. Suddenly, much of the theatre world began acting for the (web)camera. This article considers the changing attitudes toward notions of theatrical presence before and throughout the pandemic and what these changes might mean for the future of live arts. In particular, it posits the intersection of theatre, film and media history as key to understanding digitally enhanced contemporary experiences and expectations of post-pandemic performances.

Presented on May 3 at the 2023 SpokenWeb Research Symposium, Reverb: Echo-Locations of Sound and Space. This paper discusses the soundscape ecology and speculative ontology in the work of Spanish sound artist Francisco López. Focusing on the essays "Environmental Sound Matter" and "Sonic Creatures," I conceived the ontology of sounds in the soundscape "La Selva" as a response to the simulation hypothesis in technocratic philosophy, an unsimulated world where sounds emerge as a multispecies muddle of "critters," as theorized by Donna Haraway, Vinciane Despret, and others.

espanol?Existe un regimen aural que impacta en la escucha musical en el siglo XXI? De ser asi, ?como es que dicho regimen se configura?, ?que practicas de escucha son sustentadas por que tipo de instituciones e ideologias y viceversa? Este articulo aproxima posibles interpretaciones a estas preguntas recurriendo para ello a las practicas contemporaneas de escucha musical. Presenta una definicion de trabajo de "regimen aural" y la ilustra a traves de tres problemas contemporaneos en torno a la escucha musical, como son el efecto de la ideologia del multiculturalismo en la instauracion de dicho regimen, el papel de diferentes industrias (musical, entretenimiento y turismo) e instituciones (universidades, centros culturales y archivos) en el establecimiento de pedagogias de la escucha musical y la construccion de subjetividades musicalmente mediadas. Reviso debates en curso tales como la generacion de juicios esteticos sobre las musicas no-occidentales y su relacion con una p...

Introduction to Part 2 171 Jamii: Topical Issues on Lamu 175 1 Amu ("Lamu") 175 2 Bandari ina mawimbi ("The Port Makes Waves") 186 3 Jahazi ("The Dhow") 190 4 Tupijeni makamama ("Let Us Embrace") 192 Ilimu: The Importance of Education 196 1 Mwalimu ("Teacher") 196 2 Kilio huliya mwenye ("Change Begins at Home") 200 3 Kiswahili ("Swahili") 206 4 Za Washirazi athari ("The Influence of the Persians") 214 Huruma: Social Roles and Responsibility 218 1 Mama msimlaumu ("Don't Blame My Mother") 218 2 Jilbabu ("Veil") 223 3 Mchezo wa kuigiza ("Play") 228 4 Haki za watoto ("Children's Rights") 235 5 Wasiya wa mabanati ("Advice to Young Women") 274 Matukio: Biographical Poems 319 1 Hafi asiye timiwa ("No One Dies before His Time Is Up") 319 2 Mlango ("The Door") 324 Maombi: Personal Poems of Supplication 328 1 Hapo zamani za yana ("Once upon a Time") 329 2 Tunda ("Fruit") 355 3 Kipande cha ini ("Piece of My Liver") 356 4 Mola zidisha baraka ("God Increase Your Blessings") 360 5 Yasome na kukumbuka ("Read and Remember") 365 All pictures belong to Ustadh Mau's private archive unless otherwise indicated. Ustadh Mahmoud Mau at the British Institute in Eastern Africa in Nairobi, 2009 viii Ustadh Mahmoud Mau during a reading at the Iwalewahaus, University of Bayreuth, 2015 xix Ustadh Mahmoud Mau at home reading the Texas Review given to him by his American neighbour 10 The District Commissioner awards Ustadh Mahmoud Mau a medal for his outstanding commitment for education on the Kenyan Jamhuri Day 29 The poet at the entrance of Asilia Bakery on Lamu in 2000 40 Ustadh Mahmoud Mau at the beach on the island in 1967. Behind him the motorboat of the District Commissioner 68 A bookshelf in Mahmoud Mau's private library 94 Ustadh Mahmoud Mau as a small boy in 1963; next to him a kiti cha enzi, a prestigious, commonly shared Indian Ocean piece of furniture from the epoch of Portuguese rule 132 Excerpt from the booklet Yā-bintī by al-Ṭanṭawi, eg 1406/ad 1985, 28 141 The cover art for the three Wasiya tracks available on SoundCloud 148 Original first (right) and last (left) page of Ustadh Mau's Wasiya wa mabanati, composed and handwritten in Roman script in a notebook 151 Barka Aboud, Ustadh Mahmoud Mau's mother, in 1968 168 Ustadh Mahmoud Mau and his photo album 171 Ustadh Mahmoud Mau giving a speech to motivate adults to have their children vaccinated against polio during the time of the maulidi celebration around 2010 175 Ustadh Mahmoud Mau visiting a school in the village of Barigoni on the mainland 196 Ustadh Mahmoud Mau reading Mama Musimlaumu at the Jukwaani Festival in Nairobi in 2009; in his hands the newspaper report which inspired his poem 218 First page of the manuscript of "Haki za Watoto" in Ustadh Mau's handwriting 273 First page of the manuscript of the "Wasiya ya Mabanati" in Ustadh Mau's handwriting 318 Ustadh Mahmoud Mau sitting in front of the oven in his bakery in 1988 319

Sociologists of religion have identified the gradual transformation from “garage churches” to megachurches since the 1980s as consistent with the political impact of neo-Pentecostal groups in Latin America today. A challenge arises for architecture to address this spatial impact upon the city fabric. Through on-site visits to neo-Pentecostal churches and interviews held with their pastors in 2019, this article takes up the challenge with reference to two case studies in Costa Rica. Analyzing the church as part of a spatial network that fosters extensive links to urban and social life far beyond the scale of the building in which worship takes place, the aim of this study is twofold: spatially to contextualize neo-Pentecostalism in a Central-American country which is Catholic by constitution; and to explore understudied dimensions in architectural historiography, such as visions and voices, as sources informing space making and site decisions.

Every physical interaction leaves traces. Yet, in online meetings, the human voice might be the only traceable feature left. In the fifth episode of «Sonic Vignettes», Salomé Voegelin reflects upon the grain of the voice as an irreducible trace of human contact and why it is endangered by AI cleaning language.

Este artículo aborda la Relación del tercer viaje de Cristóbal Colón,
vinculando los sonidos del agua descritos por el Almirante con sus ansiedades
de reconocimiento y poder, desde las cuales se imbrican colonialismo y
profecía, en una apuesta interpretativa que reencuentra el deseo de dominar
el agua en las agendas vigentes de la actual empresa colonial y que podemos
reconocer hoy en proyectos de infraestructura energética como el de
Hidroituango.

As isolating as the dissertation writing experience appears, no dissertation is ever written alone. Many people accompanied me in my workspace in a variety of ways. My dissertation chair and co-chair, Gretchen Murphy and Julie Avril Minich, shaped this project from the very beginning, asked the right questions, and provided the most helpful resources-all of which allowed me to complete this dissertation under some pressing circumstances. The additional work of the committee-Alison Kafer, Phil Barrish, Allen MacDuffie, and Alex Wettlaufer, continue to mold the future iterations of the project. Having learned as much as I have from each of these scholars' work, I feel honored to receive their commentary on a project that means so much to me. The UT English department faculty provided an accepting and challenging environment during my graduate school career. I am especially thankful to my professors, particularly Julie

Dani Ploeger combines performance, video, computer programming and electronics hacking to investigate and subvert the spectacles of techno-consumer culture. Re-purposing, misusing , and at times destroying everyday devices, his artwork exposes seemingly banal and taken-for-granted aspects of digital culture

Noise elicits response. On an urban level, those responses include mechanisms of social control and legal reform that intertwine marginality, criminality, public morality, hygiene, comfort, and poverty. Scholarship on noise and noise control suggests that listening and sound interacted to establish an aural sphere crucial to shaping modern Latin America. This chapter contributes to this discussion by focusing its attention on Colombian cities between 1886 and 1930, a period of state formation and urban modernization. I argue that listening was drawn into institutionalization processes in postcolonial Colombia, producing an aural regime that aimed to discipline individuals and create citizens in accordance with values adopted by local elites. Listening and sounds labeled as noise became articulated within an institutional logic of discipline that was projected onto changing urban, public spaces. This process reinscribed colonial distinctions of race and class into postcolonial cities.

A traves de una exploracion de los momentos mas significativos de la construccion identitaria y cultural de Nicaragua, se evidencia como con el pro yecto de nacion mestiza, se silenciaban las otras expresiones consideradas disonantes con la fusion y armonizacion cultural que conllevaba la edificacion de la nacion. La construccion monolitica de la identidad tenia su reflejo directo en las producciones literarias y en el establecimiento de un canon con funcion de operador de identificacion, con el que se creo el modelo literario nacional. La cultura, en cuanto generadora de estructuralidad, contribuyo a trazar los limites geo-culturales en los cuales inscribir la “nicaraguanidad”, condenando a la periferia del texto, las “otras voces”. A pesar de los significativos intentos de desmantelar esta concepcion monologica de la identidad y de su manifestacion literaria, se evidencia la ausencia o esporadicidad de las publicaciones y de las investigaciones sobre la realidad cultural de la reg...

Using a series of reflective case-studies, the role of the Foley artist is reconsidered alongside technological innovations in both digital soundmanipulation and physical computing. Through a series of theatrical productions and collaborations Challis and Dean have explored the sonic and dramatic possibilities created by the utilisation of digital technology in a live performance context. In this article, a variety of approaches to electronic sound-production and control are described along with first-hand reflections on the expressivity and control that are offered by each within a context of live drama. Their current project is a multimedia adaptation of the novel and film Metropolis where the aural accompaniment will be performed live using a range of adapted and purpose built sonic triggers. In defining digital-Foley, design considerations and key principles are outlined that can enhance the connectivity between the sound-artist and the sonic-landscapes they create.

A presente dissertação estuda o efeito produzido pela inclusão de métodos de aprendizagem históricos na formação de alunos de licenciatura e mestrado da área da música antiga. Considerando a dificuldade para o músico atual de aceder ao universo dos conceitos quinhentistas, transmitidos por via da oralidade e da auralidade, a hipótese defendida é que alterando a metodologia de aprendizagem altera-se também o estado mental associado à execução musical, experiência que afetará de forma inefável a perceção e as tomadas de decisão do executante. Para a análise desta metodologia definiu-se um método de trinta semanas, testado num grupo de trabalho formado por alunos do Curso de Música Antiga da ESMAE, com exercícios baseados em modelos históricos que procuraram estimular o treino daqueles aspetos mais afastados da aprendizagem musical tradicional, como a solmização, a compreensão da linguagem modal e a improvisação de contraponto.This dissertation studies the effect produced by the inclus...

Aside from audio-based performance work, the topic of sound and listening in theatre and performance studies has, as Patrice Pavis notes, 'tended to serve the visual arrangement or design'. 1 Attempts to account for how aurality operates are evident in Lynne Kendrick and David Roesner's edited volume on Theatre Noise. Furthermore, Ross Brown's research into

The use of microphones in theatre today is so common that it is hard to believe how recent this practice is and, more importantly, that it has provoked such long standing and fierce resistance. The fact is that the theatre, which very quickly integrated the electric lamp (at the end of the 19th century) into its technical arsenal, waited more than a century before resorting to microphones to relay the voices of the actors. Technological imperfections alone are not sufficient to explain this deferment since, between the emergence of the first sound reproduction technologies in the late 1870s (microphone, phonograph, telephone) and the 21st century, four distinct media have enjoyed considerable success on account of these technologies : records, radio, cinema and television. This article argues is that such delay was due to an ideological positioning by which the theatre tried to affirm its ontological superiority over the other media practices by establishing itself as the ultimate r...