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Sounding Out! Podcast #41: Sound Art as Public Art

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ActsofSonicInterventionThis April forum, Acts of Sonic Intervention, explores what we over here at Sounding Out! are calling “Sound Studies 2.0”–the movement of the field beyond the initial excitement for and indexing of sound toward new applications and challenges to the status quo.

Today Salomé Voegelintreats us to a multimedia re-sonification of the keynote she gave at 2014’s Invisible Places, Sounding Cities conference in Viseu, Portugal, “Sound Art as Public Art,” which revivified the idea of the “civic” as a social responsibility enacted through sound and listening. Available for download here as a podcast is an audio recording of the keynote as well as a transcription of its accompanying score. In this final entry of the series, Vogelin shares her insight about how sound can act as intervention, disruption, and resistance.

–AT, Multimedia Editor




 Sound Art as Public Art 
Performance Score
Salomé Voegelin

Sit down on a chair

Read: Listening to Noise and Silence: Towards a Philosophy of Sound Art, pp126-127, line 5 to line 5

Play: Clare Gasson, Thought and Hand 53”

Get up, walk a square around your location, singing each side of the square at a different pitch – step back into the middle of the space and grunt loudly.


Read: Sol leWitt The Location of a Circle, 1974


Read: Listening to Noise and Silence: Towards a Philosophy of Sound Art pp130-131, line 20 to line 3, 3rd word


Read: endnoted text [see endnotes below], alternating between life and pre-recorded voice.


Read: Sonic Possible Worlds, Hearing the Continuum of Sound, pp49-50, line 1 to line 12

Read: Maurice Merleau-Ponty, Nature from Course notes from the Collège de France pp68-69, line 32 to line 17, 7th word


Read: from The waterjet, April 09, 2013, 09:39am

Read: Patrick Farmer Try I Bark from ‘fire turns its back to me…’ to ‘ i have no desire too name’


Play: The Red Hook High School Cheerleaders by Jeremy Deller, 2 min excerpt


Read: Sarah Jackson Silent Running from her collection of poems Pelt


Play: Lawrence Abu Hamdan, Marches 2008, Track 2, 3 min excerpt

Read: Henri Lefebvre, Rhythmanalysis, pp19-21, line 8 to line 6 (with a slight edit), and p55, line 17 to line 31

Play: Simon-Steen Anderson Pretty Sound (Up and Down) for priano, from LP Pretty Sound, 3 min excerpt

Read: Listening to the Stars from Noch (What Matters Now? What can’t you hear?)

Read: Sonic Possible Worlds pp157-158, line 1 to line 34

Play: Eisuke Yanagisawa Ultrasonicscapes track 10 streetlight 2, 3 min excerpt.

Read: Sonic Possible Worlds pp165-166, line 29-4 + p166-167, line 40 line 6 word 6 and pp 168-169, line 33 to line 2, and p174, line 18 to line 34


Read: credits while playing Salomé Voegelin: exactly 3 minutes


Life voice [lv]: This is a performance of my sonic possibilities in a public context.

Recorded voice [rv]: Sounds invisible mobility makes accessible, thinkabe and sensible, different and pluralized notions of publicness.

lv: My public performance invites you to consider your own public performance in this same context.

rv: The sonic public is a participatory possibility, whose actuality is not a matter of truth and untruth, but of sonic fictions: personal narrations that realize the invisible and conjure the inaudible, rather than settle on what appears to be there visibly and audibly.

lv: Together we make a civic performance – creating an ephemeral exchange of invisible things that reframe our visible form, relationship and organization.

rv: Listening challenges the designation of private and public. It overhears their distinction and does not follow the functional architecture of place and civic purpose but proposes formless and invisible alternatives.

lv: I am performing my private sonic life-world that meets yours in passing, at moments of coincidence, to create not one appreciable entirety, one actuality, but fragmented possibilities of what our shared space is, or could be.

rv: Sound is not necessarily harmonious, nor definitively antagonistic, but generates the space of an agonistic play: no ideal objective guides or precedes the action that it is.

lv: I sang a square and talked a circle.

rv: The public is not a visual concept, a permanent institution and infrastructure, but a transitory practice.

Iv: made room in the visible space for my invisible possibilities

rv: Sound makes apparent the frames, edges and boundaries of what is considered the actual place, and implodes the singularity and permanence of that perception through an invisible duration.

lv: I made an artistic space,
I made a social space
I made a political space
They reveal the limits of actuality, produce possibilities, and hint at the possibility of impossibilities.

Salomé Voegelin is a Swiss artist and writer engaged in listening as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art (Continuum, 2010) and Sonic Possible Worlds: Hearing the Continuum of Sound (Bloomsbury, 2014). She maintains the blog SoundWords  and has curated the exhibition clickanywhere, an online exhibition of spoken and written work. Voegelin is a Reader in Sound Arts at London College of Communication, UAL and has a PhD from Goldsmiths College, London University.

tape reelREWIND! . . .If you liked this post, you may also dig:
detritus 1 & 2 and V.F(i)n_1&2 : The Sounds and Images of Postnational Violence in Mexico – Luz Maria Sánchez

Standing Up, for Jose – Mandie O’Connell

Sounding Out! Podcast #23: War of the Worlds Revisited – Aaron Trammell

detritus 1 & 2 and V.F(i)n_1&2 : The Sounds and Images of Postnational Violence in Mexico


ActsofSonicInterventionThis April forum, Acts of Sonic Intervention, explores what we over here at Sounding Out! are calling “Sound Studies 2.0”–the movement of the field beyond the initial excitement for and indexing of sound toward new applications and challenges to the status quo.

Two years ago at the first meeting of the European Sound Studies Association, I was inspired by the work of scholar and sound artist Linda O’Keeffe and her compelling application of the theories and methodologies of sound studies to immediate community issues.  In what would later become a post for SO!, “(Sound)Walking Through Smithfield Square in Dublin,” O’Keeffe discussed her Smithfield Square project and how she taught local Dublin high school students field recording methodologies and then tasked them with documenting how they heard the space of the recently “refurbished” square and the displacement of their lives within it.  For me, O’Keeffe’s ideas were electrifying, and I worked to enact a public praxis of my own via ReSounding Binghamton and the Binghamton Historical Soundwalk Project.  Both are still in their initial stages; the work has been fascinating and rewarding, but arduous, slow, and uncharted. Acts of Sonic Intervention stems from my own hunger to hear more from scholars, artists, theorists, and/or practicioners to guide my efforts and to inspire others to take up this challenge.  Given the exciting knowledge that the field has produced regarding sound and power (a good amount of it published here), can sound studies actually be a site for civic intervention, disruption, and resistance?

Last week, we heard from the Assistant Director at Binghamton University’s Center for Civic Engagement, Christie Zwahlen, who argues that any act of intervention must necessarily begin with self-reflexivity and examination of how one listens.  In coming weeks, we will catch up with Linda O’Keeffes newest project, a pilot workshop with older people at the U3A (University of the Third Age) centre in Foyle, Derry, “grounded in an examination of the digital divide, social inclusion and the formation of artists collectives.”  We will also hear from artist, theorist, and writer Salomé Voegelinwho will treat us to a multimedia re-sonification of the keynote she gave at 2014’s Invisible Places, Sounding Cities conference in Viseu, Portugal, “Sound Art as Public Art,” which revivified the idea of the “civic” as a social responsibility enacted through sound and listening.  This week, artist/scholar Luz María Sánchez gives us the privilege of a behind-the-scenes discussion of her latest work, detritus.2/ V.F(i)n_1–1st prize winner at the 2015 Biennial of the Frontiers in Matamoros, Mexico —which uses found recordings and images to break the deleterious silence created by narco violence in Mexico.

–JS, Editor-in-Chief


There is no document of civilization which is not at the same time a document of barbarism.

Walter Benjamin, Illuminations

detritus is an open-ended art project I started in 2011, that has as its main subject the portrayal of violence in Mexico. I introduce the sounds and images of what I call the Postnational Violence in Mexico using the concept of detritus as the nucleus; I use the cultural objects I produce through my artistic practice as the vehicle. detritus actually explores violence (1) as it is portrayed through media (radio, TV, newspapers and online platforms) and (2) as it is registered, manipulated and transmitted by the different participants of it –civilians, the government, NGOs, the military, the cartels–.


The first stage of detritus deals with Mexican media, specifically online newspapers, radio and TV, during the Presidency of Felipe Calderón (2006-2012). The whole strategy of [former] President Calderón —even before he took office— was to knock down violence associated to drug trafficking in Mexico and, actually, just a few days after he did his pledge as President of Mexico, he declared the war against drug trafficking that underwent from 11December 2006 —when Calderón actually started this war by sending 5,000 soldiers and police officers to the state of Michoacán— until the last day he was in Office: 31 November 2012.

During the six years that this war took place, former President Calderón appeared in military garments as “Mexico’s Drug War Commander in Chief.” The main target of this military strategy was to re-claim the control on those states where Mexican cartels were in charge. As Guillermo Pereyra argues in México: violencia criminal y “Guerra contra el narcotráfico” (2012), “Mexico’s Drug War” began as a decision to recover sovereignty in a context of political and social crisis. At the end of this period, there were more than 45,000 officers deployed in the states of Mexico, Baja California, Tamaulipas, Michoacán, Sinaloa and Durango, and more than 60,000 casualties. US media called this war “The Mexican War on Drugs” or “Mexico’s Drug War.”

detritus4The research for the visuals of detritus included every single [online] edition of Milenio and Jornada —Mexican national newspapers—from 11 December 2006 until 31 November 2012, and eventually it also included Proceso magazine and El Blog del Narco, an online independent news outlet. This research allowed me to investigate how the media has steadily been increasing the volume of news and images dealing with this war, therefore contributing to the “normalization” of the very violence it covers. As Colombian artist Doris Salcedo states the normalization of barbarism comes from the excessive number of deaths that violence is leaving to the society and, [I will add] to the excessive number of images and sounds that media and individuals put on circulation and make it viral through social networks and online independent outlets. All of us are, either as transmitters or as receivers, building this texture of violence.

detritus13At the end of 2013 detritus was completed: more than 10,200 images, all of them categorized in a database that includes: title of newspaper, section, header, author of the photograph, caption, and a brief description of the image itself. I used a very simple process of photographic manipulation to alter those 10,200 images. Once transformed, these images are projected, for a very short period of time [2 seconds each] in a large screen. We could be standing in front of this projection for hours and never see any of those images repeated. For those who are drawn to numbers, we could see that at the beginning of this war, during a whole weekend, there will be four or five images related to the subject; by the end of 2012, there were more than 40 images during the same period of time.


But the description of the horror through Mexican media does not include all the necessary voices. That is why civilians started a process to empower themselves using the tools they have at hand–such as mobile phone’s cameras–a medium they can use without restrictions. Over the Internet, civilians circulated images, videos, and sounds of their day-to-day experiences dealing with extreme violence. They are not alone on this viralization of violence through audiovisual documents: members of drug cartels and self-defense groups are also uploading their combats. The big difference is each group’s “agenda.” Civilians are in search of an arena to share their experiences; cartels and other military groups are either in search of validation or in search of documenting the systematic violence used in order to control whole populations.

Therefore, the audio complement I designed for detritus, first detritus.2 and then its current iteration V.F(i)n_1 features the sounds of shootings, recorded by civilians who happened to be at close range. Generally this footage was taken via mobile phone and uploaded onto YouTube, and, unlike the newspaper representations, the image is not necessarily what is most engaging, since the individual that is making the recording is usually at floor level, protected, in order to avoid being hit by a stray bullet. But the sounds are pristine: even if the image is almost motionless -in the corner of a room, looking through a small part of a window-, the sound describes better what is at stake: violence at a very close range. The sounds on these recordings are very similar: the shootings are placed in the background, and we generally listen to voices in the foreground.

guns close up

Each of the twenty recordings that integrate to create detritus.2 was taken from You Tube. The shootings occurred in the cities of Nuevo Laredo, Reynosa, Zupango, Orizaba, Saltillo, Juarez, Changuitiro, Purépero, Xalapa, Jiquilpan, Santa María del Oro and Mexico City. All of them, played together, contribute to the assembly of what Salcedo calls a texture of sound.  The recordings are reproduced/played by twenty portable digital speakers in the shape of guns. These sound-reproduction machines are completely autonomous–no power or sound cables attached–and each speaker is a sound component by itself.  Once the battery is worn, the sound is gone until the battery is recharged, therefore restarting the process performance / sound – waste / silence.  Silence is one of the worst problems when dealing with violence.The government and the drug cartels alike don’t want anybody to openly discuss these issues. Working with families within specific communities in Mexico and the US will help make their stories visible -out of the anonymous data- and visibility could empower them.

The Inferno

But exploring the “normalization” of violence through media is not my only intervention with detritus and detritus.2. Far from the sound art movement, where soundscape often functions as a neutral label that includes organized sounds taken from the surroundings, detritus.2 deals with Mexican contemporary cities’ sounds, recorded and disseminated by the same individuals that live within these acoustic situations. Those are the sounds that [also] construct the Mexican landscape, telling the story of the failed nation.  Taken together, the sounds of detritus.2 amplifies the fact that we are standing in front of the failure of the Mexican state as we know it, and its civilian population has been dealing with this irregular situation for many decades. We have witnessed drug cartels infiltrate every layer of life; and just because many civilians end up surviving —with and around it—does not make the problem disappear. On the contrary, every broken boundary makes the problem harder and harder to be resolved.

detritus16The failure of the Mexican State, or the “inferno” as is being called now, is something Mexico can no longer hide.  When I say Mexico here, I am not referring to its general population–already exhausted already from decades on “survival mode”– but rather the Capitol elite: the government, investors, intellectuals, and journalists alike.  This situation is not new to civilians living outside of Mexico City. Entire communities in the north of Mexico have been abandoning their belongings-jobs-lives, in extremely fast exodus, either to the US or to tranquil states like Yucatán. Thousands of mothers and fathers are looking for their sons and daughters taken by the cartels, in the best-case scenario they are put to work as slaves either at the drug camps or as prostitutes, in the worst they may be in the thousands of mass graves that pollute the country. Civilians understood early in the story that any complaint to the police would result in an even worse situation. For years, it has been known in the bus industry that a lot of young male and female travelers have been kidnapped to make them join this industry of slaves, and only recently they started to admit it: tons of luggage at bus terminals on the northern states of Mexico speak for those that went missing, and nobody said a word. Just the past 19 October 2014 a corpse of a went-missing-police-officer’s mother was placed in front of the Ministry of the Interior’s building: they never pursued an investigation over the disappearance of the young officer, and the last will of this ailing mother was her coffin to be placed in the street outside of the Ministry of the Interior as a way of extreme protest.

Listening Ahead: V. (u)nF_2

In the next phase of detrius.2, V. (u)nF_2–an acronym for Vis. (un) necessary force–I am making sculptural objects and sounds to construct a multi-channel sound-installation exploring the question: how do civilians in Mexico live through the extreme violence product of the fight against drug cartels in a state that has revealed its own failure? The artwork consists of a multiple series of custom-made ceramic-sound devices/megaphones in the shape of human heads/faces, molded after living family members of civilians that are still on the “missing” lists,  maybe kidnapped and/or killed by drug cartels. In order to make an archive that includes each family’s data, I will collaborate with organizations that assist civilians on finding their relatives. To make a representative selection, I plan to analyze data through a mathematic-algorithm; chosen families will be invited to be part of the project. Each family will designate a member to participate symbolically as the “missing” person. A 3D-scan data portrait will be made of each participant, followed by a ceramic-3D-print.  I will then install an electronic-circuit and megaphone inside of the hollow-human-head/faces-ceramic-objects. To develop the sound element –a thick stratum of noise– I will digitally modify a multiple-layered-construction of sounds after the stored data. The specifics of each story/participant will be presented at the exhibition space through an interactive database. Custom-made ceramic-objects/megaphones will be resting on the floor; in in order to cross the exhibition-space, visitors will have to carefully move these 3D-ceramic-portraits, each one representing an individual story.

V. (u)nF_2 is a gesture that listens forward, taking those 24,000–and counting–missing-individuals outside of data-archives and rehumanizing them through storytelling, 3D-scan/print technology and sound.  The fact that I will use traditional methods to approach my subject —the horror of this war against civilians– but will also use state-of-the-art-technology in order to shape the hardware needed for sound-installation, combines a human-scale project with the possibilities of the digital-world, which places this project within the so-called Third-Industrial-Revolution but grounds it in the real.

V.F(i)n_1  is now on view at the Museo de Arte Contemporáneo de Tamaulipas (MACT) in Matamoros (the border city with Brownsville). It will open on August-September at the Museo de Arte Carrillo Gil in Mexico City. 


Listen to other sound installations  by Luz María Sánchez:

Frecuencias Policiacas// Police Frequencies: “Las grabaciones que forman parte del audio multicanal de la instalación, fueron llevadas a cabo en la central de radiocomunicación de la policía de Nuevo Laredo, y fueron facilitadas a la artista por reporteros del diario El Mañana en agosto de 2005. Los audios registran una confrontación entre la policía de Nuevo Laredo y un grupo criminal no identificado, y por las características de los mismos, se pueden escuchar a diversos elementos policiacos, así como a las controladoras de la radiocomunicación. La re-transmisión de estos sonidos en una matriz multi-líneal, colocan a la obra en nuevos niveles de codificación en los que la complejidad visual, auditiva y político social de esta realidad, se hacen patentes.” –Description by Roberto Arcaute y Manuel Rocha Iturbide


Frecuencias Policiacas// Police Frequencies: “The recordings are part of the multichannel audio installation carried out in the central police radio Nuevo Laredo, provided to the artist by El Mañana newspaper reporters in August 2005.  The audio recorded a confrontation between police and an unidentified criminal Nuevo Laredo group. . .The re-transmission of these sounds in a multi-linear matrix placed to work in new levels of encryption that make evident the social visual, auditory and political complexity of this reality.” –Description by Roberto Arcaute y Manuel Rocha Iturbide


2487: “2487 speaks the names of the two thousand four hundred eighty seven people who died crossing the U.S./Mexico border . The work employs digital technology and sound as a means for transborder memorialization and protest, imposing the absence of those lost into the public sphere. Sánchez’ immersive sound environment remaps social history as the names of the deceased fly across the border through soundscape and digital media. Drawing from data acquired from activist websites, Sánchez created a sound map of names which she recorded digitally. Her final score, along with the database, has been exhibited widely but lives permanently on the world wide web, in commemoration and quiet protest. Sánchez’ work connects the digital and geographic landscape to the listener’s body, gaining entry through sound and transcending political and physical barriers”– Description from UCR Critical Digital 8/19/2012


Sound and visual artist Luz María Sánchez  studied both music and literature. Through her doctoral studies Sánchez has focused on the role of sound-in-art since its inception in the 19th century through its evolution as an independent art practice in the 20th century. Sánchez then examined the radio-plays of Samuel Beckett linking them to the sound-practices that emerged in the mid-20th century. Sánchez has continued her research on technologized-sound: she was part of the conference Mapping Sound and Urban Space in the Americas at Cornell University, and her book Technological Epiphanies: Samuel Beckett’s Use of Audiovisual Machines will be published in 2015. Her artwork has been included in major sound-and-music festivals such as Zéppellin-Sound-Art-Festival (Spain), Bourges-International-Festival-of-Electronic-Music-and-Sonic-Art (France), Festival-Internacional-de-Arte-Sonoro (Mexico), and has presented exhibitions at Marion-Koogler-McNay-Art-Museum, Dallas Center for Contemporary Art, Galería de la Raza (San Francisco), John-Michael-Kohler-Arts-Center (Sheboygan), Illinois State Museum (Chicago/Springfield), and Centro de Cultura Contemporánea (Barcelona) amongst others. She was granted a special distinction in the category Nouvea-Musiques at the Phonurgia-Nova-Prix (Arles), was the recipient of a Círculo-de-Bellas-Artes-de-Madrid’s grant, and Yuko Hasegawa selected her for the Artpace-International-Artist-in-Residence. She is member of the Board-of-the-Sound Experimentation-Space at Museum-of Contemporary-Art (MUAC). Sanchez was recently awarded the First Prize of the Frontiers Biennial (2015).

tape reelREWIND!…If you liked this post, you may also dig:

“A Listening Mind: Sound Learning in a Literature Classroom”–Nicole Brittingham Furlonge

“Soundscapes of Narco Silence”Marci R. McMahon

Listening to the Border: ‘”2487″: Giving Voice in Diaspora’ and the Sound Art of Luz María Sánchez”-D. Ines Casillas





Sound at SCMS 2015


Each March one brave Sounding Out! author takes on the task of wading through the catalog of the annual conference of the Society for Cinema & Media Studies (SCMS), to produce a curated guide for scholars interested in sound and its intersection with media. For several years now, SCMS has been both widening its intellectual scope and becoming one of the primary venues for scholars working in sound, and so making sense of the rich and noisy expansion of the field in this context takes a pretty keen ear.

This year we are extremely happy that that ear belongs to Alyxandra Vesey of the University of Wisconsin, Madison. Vesey is not only a leading feminist sound theorist, a radio host, and an editor at our peer website Antenna, but she is also one of the people behind the recent special issue of Velvet Light Trap on Sound, which is sure to become a landmark in the field in years to come.

We asked her to begin with some thoughts on what this year’s offerings at the Montreal conference (held March 25 to 29) tell us about sound scholarship these days. Some food for thought for conference attendees as they contemplate the best place for an oven-warm Montreal bagel on a cold winter morning, or work up the courage to try out some rusty French in la belle province

— Special Editor Neil Verma

In a recent essay for this site, Robin James situated Dove’s #SpeakBeautiful Twitter campaign within larger histories of patriarchal conventions that moderate “women’s literal and metaphoric voices to control their participation in and affect on society, ensuring that these voices don’t disrupt a so-called harmoniously-ordered society” (2015).

That line came back to me as I began assembling a list of relevant panels, workshops, presentations, and events for sound studies scholars at this year’s SCMS Conference. Of course, the field of film and media studies has been concerned about the voice since the works of Michel Chion, Kaja Silverman, Michele Hilmes and Roland Barthes, many of whose ideas have been revived in recent years, including in a recent issue of Velvet Light Trap, which pursued the voice through a variety of contexts.

VLTBut that legacy alone can’t explain the diversity of interest in the subject at SCMS this year; Montreal’s conference might signal the year of the voice in media studies.

Wednesday’s itinerary features “Hearing Voices, Songs, and Speech.” The panel is chaired by Kyle Stevens, who will also present research on the functions of voice-over in representations of suicide and women’s sexuality. Dolores McElroy’s research on Judy Garland, Patrik Sjoberg’s exploration of documentaries’ dubbing and lip sync practices, and Liz Greene’s work on pop music’s signification of middle-aged nostalgia rounds out the proceedings. On Saturday, “The Voice in Transition” includes presentations from chair Jennifer Fleeger, Sarah Wright, Tom Whittaker, and Christine Ehrick on opera in Italian film, silent cinema, dubbing in Spanish film, and Niní Marshall’s film comedies. “Hear and There: The Politics of Sound” include two compelling presentations: Cassie Blake and Tessa Idlewine’s work on female voiceover in theatrical trailers and Allison McCracken’s discussion on auditions and essentialism on NBC’s The Voice.

Heightened interest in podcasting also appears to be symptomatic of interest in the voice. The first day of the conference includes an entire panel on the subject. Chaired by Andrew Bottomley, “Podcasting: A Decade into the Life of a ‘New’ Medium” includes presentations from Brian Fauteux on podcast aesthetics and satellite radio, Andrew Salvati on historiography in Dan Carlin’s Hardcore History, and Kelli Marshall on WTF host Marc Maron.

However, scholarly inquiry around podcasts may have as much to do with the interest in radio and the medium’s extensions online. On Thursday, Doron Galili and Gabriel Paletz will chair “A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media,” exploring the program’s long afterlife alongside a co-authored paper by Neil Verma and Jennifer Stoever and respondent Timothy Corrigan. This event occurs simultaneously with a workshop on radio production cultures chaired by Bottomley and featuring participants Shawn VanCour, Tom McCourt, and David Uskovich. Friday afternoon winds down with a workshop chaired by Jason Loviglio entitled “The Problem of the Radio Canon” that includes Debra Rae Cohen, Bill Kirkpatrick, Kate Lacey, and Elena Razlogova. And on Saturday Jennifer Wang will chair “Fringe Time: Gender and Crossover Programming in the U.S. Radio-TV Transition” with presentations on soap opera’s transitional moment, ethnicity and diet-oriented programming, and discourses around liveness in wrestling from Elana Levine, Jennifer Lynn Jones, and Kate Newbold.

Saturday’s radio studies panels also touch on three other areas of interest for sound studies scholars: technological affordances, historical interventions, and identity politics. To that first point, Wednesday includes Tim Anderson’s presentation on musicians and the professional economies of social networking and Andrew deWaard’s discussion on big data’s influence over ownership in the recording industries. Saturday evening’s “Stream Engines: Streaming Services and Media Distribution” promises to deliver some compelling original research as well. Jeremy Morris and panel chair Devon Powers will co-present a paper on curation and digital music services. Eric Harvey will explore how streaming services become sites of commerce, an extension of his and Maura Johnston’s “Loose Change” series for Pitchfork.

In terms of historiography, Wednesday’s “Music Screens, Music Stars, Music Scenes” is at the top of my list. Chaired by Charlotte Howell, who will also present original research on Atlanta’s public access program The American Show, the panel includes Kristen Alfaro’s work on the Fales Library’s nightclubbing collection, Matt Stahl’s research on royalty reform for R&B artists in the mid-1980s, and Brad Stiffler’s study on TV Party and cable access in the 1970s.

Saturday afternoon includes “Historicizing Music and Transmedia” with presentations from Kyle Barnett, Kevin John Bozelka, chair Landon Palmer, and myself on Jazz Age-era media convergence, post-war publishing and recording practices, The Beatles’ relationship with United Artists, and playlist production as extensions of feminist activism. During that time, Morgan Sea of Tranzister Radio will also participate in a panel with Alexandra Juhasz on trans women’s AIDS media activism. If I could be at two places at once, I would.


This brings us back to questions of identity and how sound signifies larger representational strategies. On Thursday, Jack Curtis Dubowsky chairs “Sound Tracks,” which features presentations from Monique Bourdage, Carl Laamanen, and Rembert Hueser about gender and taste on Playboy after Dark, Her and acousmêtre, the music of La Chinoise, and queer musical signification. I’m also looking forward to seeing Ryan Powell’s presentation on “Queer Aurality in Seventies Gay Art Porn.” Thursday’s panels conclude with “Screening Instability: Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico,” which includes Brian L. Price’s work on rock ‘n’ roll films in the country, chair Francisco Flores-Cuante’s analysis of masculinities in Viento Negro, and Carolyn Fornoff’s discussions on musical interludes. And on Friday, I plan to attend “She Bop on Screen: Girls, Popular Music, and Visual Media” with original research from Mary Kearney, Norma Coates, Morgan Blue, and Diane Pecknold on the gendering of post-war teen media, the Disney Channel and pop girlhood, and tween pop in the public sphere.

Finally, there are a number of special events for sound scholars to enjoy. Those interested in sound’s immersive potential should take time out on Friday night to visit the Satosphere Dome, which harnesses the potential of 360-degree screen projections, complex speaker system, and environmental sound to place visitors within a large-scale work of art.  The official meeting of the Sound Studies Special Interest group (SSSIG) is Wednesday, 3/25, from 2-3:45pm in Les Voyageurs, Lobby Level.  The official meeting of the Radio Studies Scholarly Interest Group (RSSIG) will be Saturday, 3/28, from 9:00-10:45 pm, in Les Voyageurs 2, Lobby Level.  In addition to SIG business, the RSSIG will also share an update from the Radio Preservation Task Force and will host award-Winning WireTap producer Mira Burt-Wintonick, who will present ideas on storytelling and sound design in the golden age of podcasting. How do you make your stories stand out in a sea of audio content? What’s different about producing for radio vs. podcasts? How do you create a signature sound? Part listening party, part discussion, this session aims to explore a variety of new sonic trends and possibilities in radio production.

mtBut considerations for the voice also lead us to listen for silences and absences. In that regard, I’m reminded of Neil Verma’s desire “to see future presenters using sound in innovative ways to think about objects and events well outside the perimeter of sound studies, drawing experimental modes of listening in to the conference experience and challenging how scholarship itself is fashioned and displayed” at the end of his “Sound at SCMS 2013” post. This appeal brings to mind Pauline Oliveros’ concept of deep listening, which describes how the music heard in a live or recorded context cannot be reduced to composition without critical attention toward the intersection of producers, listeners, and their shared environment (Rodgers 2010). Such interests seem to influence certain panels’ and participants’ work, particularly “Historicizing Technical Standards and Practices in Film Sound,” “Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion,” and James Deaville’s “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers.”

Yet I wonder how we could harness sound as a resource for developing pre-existing scholarly approaches and fields. How might we “use sound” in production and industry studies research not only of radio, but in scholarship around other areas and sectors where the image still has primacy? What can sound teach us about precarity and other bedrock concepts within those discourses?

Furthermore, how can we “use sound” as a political intervention? As a field, we know how to analyze sound for the purposes of academic critique. But sound’s relationship to activism is underrepresented at this conference. I’m heartened by Morgan Sea and Jonathan Sterne’s participation in workshops on trans women’s media activism and disability studies. But I want consideration for how to use sound as resources to challenge institutions and ideologies that advance the violent force of intersectional discrimination, civil rights violations, widening class division, surveillance, eroding labor rights, and geopolitical conflict.

In addition, how can we “use sound” to teach? Wednesday concludes with “Participatory Pedagogy” a workshop and networking event about issues related to teaching gender and media. How can we use sound not only to enter into discussions amongst ourselves, but as a resource in the classroom?

Nick Couldry argues that the role of the voice hinges upon the cultural and political value assigned to it, which “involves particular conditions under which voice as a process is effective, and how broader forms of organization may subtly undermine or devalue voice as a process” (2). A number of presentations, panels, and workshops take up the voice as a resource for inquiry. Others will be raising them to ask questions of sound, music, and aurality’s influence in shaping media technologies, texts, representational strategies, and reception practices. And, as always, there are silences and absences we must recognize and address.

Let’s listen. Let’s raise our voices as well.

Alyxandra Vesey is a feminist media scholar who uses industry and production studies approaches to explore the relationship(s) between gender, labor, and music. Her dissertation analyzes identity and music-based intermediary practices in post-network television. Her work has appeared in Antenna, Flow, In Media Res, The Moving Image, Cinema Journal, Studies in French Cinema, and Saturday Night Live and American TV. She is also an editor for Antenna and The Velvet Light Trap. As an extension of her scholarship, she is also a contributor to Bitch Magazine, a volunteer for Girls Rock Camp Madison, and the host of WSUM 91.7 FM’s “Feminist Music Geek Presents…”

Featured image: “Feux d’artifice au port du vieux Montréal” by Flickr user Emmanuel Huybrechts, CC BY 2.0

"Queen Elizabeth" by Flickr user Robert Anthony Provost, CC BY 2.0

“Queen Elizabeth” by Flickr user Robert Anthony Provost, CC BY 2.0

Jump to WEDNESDAY, MARCH 25, 2015
Jump to THURSDAY, MARCH 26, 2015
Jump to FRIDAY, MARCH 27, 2015
Jump to SATURDAY, MARCH 28, 2015
Jump to SUNDAY, MARCH 29, 2015


Session A 10 – 11:45 a.m.

A11. Sound and Music
Chair: Michael Baumgartner, CLEVELAND STATE UNIVERSITY
Ian Kennedy, WAYNE STATE UNIVERSITY, “Visual Music and the Enactive Theory of Musical Perception”
Mark Durrand, SUNY-UNIVERSITY AT BUFFALO, “On Seeing and Hearing in Sergio Leone’s Once Upon a Time in the West (1969)”
Summer Kim Lee, NEW YORK UNIVERSITY, “‘Too Much Exposure’: The Paranoia of Race in Gothic Orientalism”
Michael Baumgartner, CLEVELAND STATE UNIVERSITY, “Expanding the Horizon on Film Music Studies: Jean-Luc Godard’s Use of Music in His Films as a Counter-model to the Music in the Mainstream Film Tradition”

Session C 2:00 – 3:45 p.m.

C1. The Spoilage of America Garbage, Junk, and Audiovisual Noise in US Film and TV
Michael Rowin, UNIVERSITY OF FLORIDA, “Noise and Spectatorship in Lynch’s Films”
Tania Darlington, SANTA FE COLLEGE, “From Hill Street to Farmington: The Station House as Symbol of Urban Neglect in Television Police Procedurals”
Jacob Agner, UNIVERSITY OF MISSISSIPPI, “Salvaging The Counselor: Watching Cormac McCarthy’s Really Trashy Movie”
Allison Rittmayer, NORTHWESTERN STATE UNIVERSITY OF LOUISIANA, “‘Deswamped and Denuded, and Derivered’: Some Aspects of the Southern Gothic in Rural Noir Landscapes”

C11. Hearing Voices, Songs, and Speech
Dolores McElroy, UNIVERSITY OF CALIFORNIA-BERKELEY, “In Extremis: An Inspirational Reading of Judy Garland and The Man That Got Away
Patrik Sjoberg, KARLSTAD UNIVERSITY, “Your Tongue in My Mouth: Lip Synch, Dubbing, Ventriloquism, and the Othering of Voice in Documentary Media”
Liz Greene, DUBLIN CITY UNIVERSITY, “Listening, Singing, and Dancing to Pop Songs in Film: The Sound of Middle-aged Nostalgia”
Kyle Stevens, BRANDEIS UNIVERSITY, “‘I Had No Thoughts at All’: Voice-over, Suicide, and Women’s Sexuality”

Session D 4:00 – 5:45 p.m.

D11. Music Screens, Music Stars, Music Scenes
Kristen Alfaro, NEW YORK UNIVERSITY, “Screens of Punk, Punks of Screen: Video History and the Nightclubbing Collection at the Fales Library, New York University”
Matt Stahl, UNIVERSITY OF WESTERN ONTARIO, “We Have Paid a Price to Sing This Music: Aging R&B Stars’ Struggle for Reparations and Royalty Reform in the US Recording Industry, 1984–2004”
Brad Stiffler, UNIVERSITY OF MINNESOTA, “Anti-antinetwork TV: TV Party and the (Un)popular Avantgarde on 1970s Cable Access”
Charlotte Howell, UNIVERSITY OF TEXAS AT AUSTIN, “Symbolic Capital and Cable Access: Production Discourse of The American Music Show
Sponsor: Sound Studies Scholarly Interest Group

D18. Podcasting: A Decade into the Life of a “New” Medium
Brian Fauteux, WILFRID LAURIER UNIVERSITY, “Blog Radio: Satellite Radio and the Aesthetics of Podcasting”
Andrew Salvati, RUTGERS UNIVERSITY, “Podcasting the Past: Historiography and Interactivity in Dan Carlin’s Hardcore History
Kelli Marshall, DEPAUL UNIVERSITY, “Transmedia Storytime with Your Host Marc Maron”
Sponsor: Radio Studies Scholarly Interest Group

Session E 6:00 – 7:45 p.m.

E11. Hear and There: The Politics of Sound
Chair: Allison McCracken, DEPAUL UNIVERSITY
Jim Knippling, UNIVERSITY OF CINCINNATI, “Vicissitudes of Normativity in Non-diegetic Film Music: 1940–1975”
Tim Bell, INDIANA UNIVERSITY, “White Jazz: Music and Fantasies of English Modernity in The Avengers (1961–69)”
Cassie Blake and Tessa Idlewine, ACADEMY FILM ARCHIVE, “Better Seen than Heard: The Anomaly of Female Voiceover in Theatrical Trailers”
Allison McCracken, DEPAUL UNIVERSITY, “Blind Auditions and Vocal Politics: Enacting and Exposing Vocal Essentialism on NBC’s The Voice
Sponsor: Sound Studies Scholarly Interest Group

Wednesday Individual Papers of Interest

A5. Asha Tamirisa, BROWN UNIVERSITY, “Aurality, Virtuality, and the Feminization of Technological Space in Her

A10. Lindsay Affleck, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “‘100 Dollars a Day Plus Expenses’: Richard Diamond as Radio Shamus and Hollywood Telefilm Production”

A17. Anna Dimitrova, UNIVERSITY OF PITTSBURGH, “Polyphonic Soundscape in the Dardenne Brothers’ Film Lorna’s Silence

A18. Tim Anderson, OLD DOMINION UNIVERSITY, “Time for Brand Practice: Networking Finances and the ‘Social Musician’”

C6. Kara Fagan, UNIVERSITY OF IOWA, “Dancing on Ice, Falling out of the Gender Script: Sonja Henie’s 20th Century Fox Musicals and the Feminization of Figure Skating”

Spring-Serenity Duvall, SALEM COLLEGE, “When Gen X Icons Grow Up: Celebrity, Aging, and (Trans) national Canadian Identity in the Careers of Alanis Morissette and Sarah McLachlan”

D5. Veronica Fitzpatrick, UNIVERSITY OF PITTSBURGH, “The Also at Work in Every Intended Something: Belief, Belonging, Sound of My Voice, the East

D12. Joseph Pfender, NEW YORK UNIVERSITY, “The Lifespan of Circuits: Cinematic Experimentalism in the Chaotic Music of Louis and Bebe Barron”

D16. Rachel Kahn and Marc Rose, SOLOMON R. GUGGENHEIM MUSEUM AND UNIVERSITY OF PORTSMOUTH, “Music Video Art House: An Auteurist Study of the Music Video Production Company”

E12. Jing (Jamie) Zhao, CHINESE UNIVERSITY OF HONG KONG, “Problematizing a ‘Desirable’ Queer Media Culture: A Study of the Chinese Reality Talent Shows Super Girls, The Voice of China, and Your Face Sounds Familiar

E20. Andrew deWaard, University of California-Los Angeles: “New Gatekeeper Same as the Old Gatekeeper: Big Data, Big Content, and the Continued Concentration of Ownership in the Music Industry”

"MetrOoo Montréal" by Flickr user Éole Wind, CC BY-NC-SA 2.0

“MetrOoo Montréal” by Flickr user Éole Wind, CC BY-NC-SA 2.0

THURSDAY, March 26

Session F 9:00 – 10:45 a.m.

F11. Composing Narratives: The Role of Music in Film and Television
Chair: Paula Musegades, BRANDEIS UNIVERSITY
Paula Musegades, BRANDEIS UNIVERSITY, “The Sounds of Shangri-La: Romantic Exoticism in Lost Horizon
Sheri Chinen Biesen, ROWAN UNIVERSITY, “Blues, Smoke, and Shadows: Jazz in ‘Musical’ Noir Films”
Reba Wissner, MONTCLAIR STATE UNIVERSITY, “‘I Am Big—It’s the Pictures that Got Small’: Franz Waxman’s Scores for the Big and Small Screens: Sunset Boulevard (1950) and The Twilight Zone’s ‘The Sixteen Millimeter Shrine’ (1959)”
Georgia Luikens, BRANDEIS UNIVERSITY, “Singing Suburbia, Seeing Suburbia: Leonard Bernstein’s Trouble in Tahiti and the Operatic Teleplay”

Session G 11:00 a.m. – 12:45 p.m.

G7. A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media
Co-Chair: Gabriel Paletz, PRAGUE FILM SCHOOL
Gabriel Paletz, PRAGUE FILM SCHOOL, “Book to Broadcast and across Media: Orson Welles’s Strategies of Adaptation”
Doron Galili, STOCKHOLM UNIVERSITY, “War of the Worlds, Mass Media Panic, and the Coming of Television”
Jennifer Stoever-Ackerman, SUNY-UNIVERSITY AT BINGHAMTON, “Invading Auditory Practice: On the War of the Worlds and #WOTW75”
Respondent: Timothy Corrigan, UNIVERSITY OF PENNSYLVANIA
Sponsor: Radio Studies Scholarly Interest Group

G12. Sound Tracks
Chair: Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY
Monique Bourdage, UNIVERSITY OF MICHIGAN, “‘You Don’t Appreciate True Musical Genius’: Negotiating Gender and Musical Taste on Playboy after Dark
Carl Laamanen, OHIO STATE UNIVERSITY, “Her and the Technological Acousmêtre”
Rembert Hueser, GOETHE UNIVERSITY FRANKFURT, “Easy Listening in Godard’s La Chinoise
Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY, “Queer Monster Music”
Sponsor: Sound Studies Scholarly Interest Group

G21. Workshop: Sound Work Radio Production Cultures
Workshop Participants:
Sponsor: Radio Studies Scholarly Interest Group

Session H 1:00 – 2:45 p.m.

H12. Historicizing Cinema’s Sounds and Color
Benjamin Wright, UNIVERSITY OF TORONTO, “The House that Zimmer Built: Romantic Minimalism and Group Style in Contemporary Film Music”
Julie Hubbert, UNIVERSITY OF SOUTH CAROLINA, “Records, Repertoire, and Rollerball (1975): The Hi-Fi Movement and the New Hollywood Soundtrack”
John Belton, RUTGERS UNIVERSITY, “Man, God, and Kodachrome: The Beginnings of a Color Vernacular”

Session I 3:00 – 4:45 p.m.

I11. Historicizing Technical Standards and Practices in Film Sound
Michael Slowik, SAN DIEGO STATE UNIVERSITY, “The Curious Case of Myrna Loy: Voice, Ethnicity, Impersonation, and Early Synchronized Sound Technology”
Eric Dienstfrey, UNIVERSITY OF WISCONSIN-MADISON, “Prints and the New Power Regulations: New Data on the 1938 Academy Curve”
Katherine Quanz, WILFRID LAURIER UNIVERSITY, “The Aesthetic Impact of the National Film Board’s Sound Technology After 1956”
Kevin Donnelly, UNIVERSITY OF SOUTHAMPTON, “Progressive Rock, Technology, and Film in the 1970s”
Sponsor: Sound Studies Scholarly Interest Group

Session J 5:00 – 6:45 p.m.

J11. Screening Instability Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico
Chair: Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY
Brian L. Price, BRIGHAM YOUNG UNIVERSITY, “Rock and Roll Films and the Development of Mexican Counterculture”
Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY, “Hyperbolic Masculinity and Effeminacy in Viento Negro (Dark Wind)”
Carolyn Fornoff, UNIVERSITY OF PENNSYLVANIA, “Musical Interludes in Mexican Melodrama: Crafting a Sonic Space of Exclusion”
Ignacio Sanchez Prado, WASHINGTON UNIVERSITY IN ST. LOUIS, “A Hero and the Monsters of Modernity: Wrestler Cinema as Popular Cosmopolitanism”
Respondent: Sergio de la Mora, UNIVERSITY OF CALIFORNIA-DAVIS

Special Event 7:30 p.m.

Wind from the Middle East: An Evening of Music and Film
Location: La Vitrola, 4602 Boulevard Saint-Laurent
The Middle East Caucus presents an evening of entertainment and discussion, featuring a performance by local Montreal musicians Sam Shalabi (playing oud) and Stefan Christoff (on electric guitar). Following the musical performance, there will be a presentation by Negar Mottahedeh, Associate Professor of Literature at Duke University, and author of Displaced Allegories: Post-Revolutionary Iranian Cinema. Professor Mottahedeh’s talk is titled “Le Vent Nous Portera: of lovers possessed, times entangled, and bodies carried away,” and will be accompanied by a video projection.
Metro: Station Laurier or a short taxi ride from the conference hotel.
Sponsored By: Middle East Caucus and supported by SCMS

Thursday Individual Papers of Interest

F6. Zachary Campbell, NORTHWESTERN UNIVERSITY, “The Audiovisual Otherwise: Valences of Media as Political Figurations”

F7. Denise Mok, UNIVERSITY OF BRITISH COLUMBIA, “Transnational Agencies and Auras: Performance and Star Power in Transatlantic Film Performances in Early Sound Cinema”

F8. Theo Stojanov, CONCORDIA UNIVERSITY, “Manufactured Soundscapes: Recycled Media, Sound Archives, Materiality”

G10. Anupama Kapse, QUEENS COLLEGE-CUNY, “Autobiographies of Dissent: Memories of Screen Acting in the Early Sound Film”

G11. Colin Burnett, WASHINGTON UNIVERSITY IN ST. LOUIS, “The Vernacular of Rhythm: How the Language of Postwar Film Culture Elaborated on a Musical Analogy”

H8. Jane Stadler, UNIVERSITY OF QUEENSLAND, “Sonic Disturbance: Film, Phenomenology, and the Threshold of Acoustic Experience”

H11. Anne Jerslev, UNIVERSITY OF COPENHAGEN, “David Lynch and Haptic Audio-Visuality in Crazy Clown Time”

H18. Ryan Powell, INDIANA UNIVERSITY, “Queer Aurality in Seventies Gay Art Porn”

I4. James Deaville, CARLETON UNIVERSITY, “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers”

J7. Katherine Spring, WILFRID LAURIER UNIVERSITY, “Film Music and Moral Rights in Hollywood’s Early Sound Era”

"Place des Arts" by Flickr user Logan Charlot, CC BY-NC-SA 2.0

“Place des Arts” by Flickr user Logan Charlot, CC BY-NC-SA 2.0

FRIDAY, March 27

Session K 9:00 – 10:45 a.m.

K22. Dis-locating Sound
Co-Chair: Nora M. Alter, TEMPLE UNIVERSITY
Nora M. Alter, TEMPLE UNIVERSITY, “Shocking Sounds: Surrealism, Songs, and the Essay Film”
Jennie Hirsh, MARYLAND INSTITUTE COLLEGE OF ART, “Transmissions of Fascism: Advertising Architecture through the Ente Radio Rurale Poster Campaign”
Kenneth White, STANFORD UNIVERSITY, “Reason and Passion: Joyce Wieland, Pierre Vallières, and Cold War North American Avant-garde Cinema”
Lutz Koepnick, VANDERBILT UNIVERSITY, “Sounds without Frontiers, Cinemas without Screens”
Sponsor: Sound Studies Scholarly Interest Group

Session M 2:15 – 4:00 p.m.

M2. She Bop on Screen Girls, Popular Music, and Visual Media
Mary Kearney, UNIVERSITY OF NOTRE DAME, “Getting Girls to Rock: Gendering Rock ‘n’ Roll in US Teen Media, 1956–1966”
Norma Coates, UNIVERSITY OF WESTERN ONTARIO, “Dangerous Representations: Empowered Teen Girls, the Monkees, and ‘The’ Monkees”
Morgan Blue, UNIVERSITY OF TEXAS AT AUSTIN, “Disney Channel’s Pop Girlhood”
Diane Pecknold, UNIVERSITY OF LOUISVILLE, “Spectral Cityscapes and the Tween Pop Public Sphere”
Sponsor: Sound Studies Scholarly Interest Group

M8. Workshop: The Problem of the Radio Canon
Workshop Participants:
Sponsor: Radio Studies Scholarly Interest Group

Special Event 9:00 – 9:30 p.m.

Satosphere: 360-Degree Spherical Screen with 157 Speakers
Location: Société des Arts et Technologies, 1201 Boulevard Saint Laurent, 3rd Floor
Channeling the techno-utopianism of Expo 67, the Satosphere Dome is a state-sponsored, permanent environment dedicated to large-scale moving image and sound experimentation. With a screen that is eighteen meters in diameter (that’s 60 feet!), you can sit back—or literally lie down—on the couches and ponder a distinct mode of spectatorship, immersion, and art. An experience of audio-visual envelopment not to be missed!
Metro: St Laurent
Directions: From conference hotel—a 15 minute walk from the hotel. Walk east on René-Lévesque and turn left (north) onto Boulevard Saint Laurent.
Sponsor: Concordia University

Friday Individual Papers of Interest

K13. Alan Pike, EMORY UNIVERSITY, “The Genrefication of Prison Films in the Early Sound Era”

K14. Thomas Dorey, YORK UNIVERSITY, “Pop-up Paratext: Film Directors, Music Videos, and Paramediality”

L9. Eileen Rositzka, UNIVERSITY OF ST. ANDREWS, “Corpographic Coordinates: Zero Dark Thirty, United 93, and the Sound of Vision”

L12. Lilya Kaganovsky, UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN, “Socialist Realist Sound”

M6. Vanessa Chang, STANFORD UNIVERSITY, “From Playback to Play: Gestural Invention and Digital Music”

M7. Michael B. Gillespie, OHIO UNIVERSITY, “‘Ne me quitte pas’: 9/11, Civic Pop, and Sonic Historiography”

"18/07/12" by Flickr user Thien, CC BY-NC-ND 2.0

“18/07/12” by Flickr user Thien, CC BY-NC-ND 2.0

SATURDAY, March 28

Session N 9:00 – 10:45 a.m.

Radio Studies Scholarly Interest Group
Room: Les Voyageurs 2, Lobby Level

N8. The Voice in Translation
Chair: Jennifer Fleeger, URSINUS COLLEGE
Sarah Wright, ROYAL HOLLOWAY-UNIVERSITY OF LONDON, “Locating the Voice in Silent Cinema: Pablo Berger’s Blancanieves
Jennifer Fleeger, URSINUS COLLEGE, “Tito Schipa, Italian Film Sound, and Opera’s Legacy on Screen”
Tom Whittaker, UNIVERSITY OF LIVERPOOL, “‘Being’ Woody Allen: Dubbing, Vocal Performance, and Stardom in Spanish Film”
Christine Ehrick, UNIVERSITY OF LOUISVILLE, “Voice, Gender, and the Soundscapes of Buenos Aires in the Comedy of Niní Marshall, 1937–1947”

Session O 11:00 a.m. – 12:45 p.m.

O6. The Public Good Goes to Market: North American Public Service Media and the Marketplace in the Digital Convergence Era
Jason Loviglio, UNIVERSITY OF MARYLAND, “NPR Listens: Psychographics, Audience Measurement, and the Privatization of Public Service Radio”
Kyle Conway, UNIVERSITY OF OTTAWA, “Policy beyond the Nation-State; or, Why the French Didn’t Watch Canada’s Little Mosque on the Prairie
Christopher Cwynar, UNIVERSITY OF WISCONSIN-MADISON, “Social Service Media?: Assessing the CBC and NPR’s Engagement with Social Media Platforms”
Respondent: Laurie Ouellette, UNIVERSITY OF MINNESOTA
Sponsor: Radio Studies Scholarly Interest Group

O11. The Sonic Impact of Scale Local and National Radio in “the 1960s”
Josh Glick, YALE UNIVERSITY, “Soundscapes of South Los Angeles: Radio and the Voices of Resistance”
Darrell Newton, SALISBURY UNIVERSITY, “Being of Color in Britain: Identity, 1960s Radio, and West Indian Immigration”
Eleanor Patterson, UNIVERSITY OF WISCONSIN-MADISON, “We Are Not Reviving a Ghost: Reconfiguring Radio Drama in Post-network Era United States”
Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA, “Musical Storytelling to a Fragmented Nation: American Top 40 and Cultural Conflict”
Sponsor: Radio Studies Scholarly Interest Group

Session P 1:00 – 2:45 p.m.

P7. Fringe Time: Gender and Crossover Programming in the US Radio-TV Transition
Elana Levine, UNIVERSITY OF WISCONSIN-MILWAUKEE, “Picturing Soap Opera: Daytime Serials and the Transition from Radio to Television”
Jennifer Wang, INDEPENDENT SCHOLAR, “Resuscitating the Wife Saver: Gender, Genre, and Commercialism in Postwar Broadcasting”
Jennifer Lynn Jones, INDIANA UNIVERSITY, “Signal Size: Gender, Ethnicity, and Diet Episodes in the Radio-TV Transition”
Kate Newbold, NORTHWESTERN UNIVERSITY, “‘Now the Booing Is Done in Soprano’: Wrestling, Female Audiences, and Discourses of Liveness in the Radio-to-TV Transition in America, 1940–1953”
Sponsor: Radio Studies Scholarly Interest Group

P10. Historicizing Music and Transmedia
Chair: Landon Palmer, INDIANA UNIVERSITY
Kyle Barnett, BELLARMINE UNIVERSITY, “Popular Music Celebrity, Jazz-age Media Convergence, and Depression-era Transmedia”
Kevin John Bozelka, AUSTIN COLLEGE, “Everything on the Pig but the Squeal: Artist/ Publishers and Recordings in the Post-WWII American Entertainment Industry”
Landon Palmer, INDIANA UNIVERSITY, “All Together Now: The Beatles, United Artists, and Transmedia Conglomeration”
Alyxandra Vesey, UNIVERSITY OF WISCONSIN-MADISON, “Mixing in Feminism: Playlists, Networks, and Counterpublics”
Sponsors: Radio Studies and Sound Studies Scholarly Interest Groups

P12. Workshop: Trans Women’s Media Activism Digital Interventions and HIV/AIDS
Workshop Participants:
Alexandra Juhasz, PITZER COLLEGE
Sponsor: Media Literacy & Pedagogical Outreach Scholarly Interest Group

Session Q 3:00 – 4:45 p.m.

Q18. Workshop: Something Good? The Sound of Music at Fifty
Chair: Desirée Garcia, Arizona State University
Workshop Participants:

Q22. New Approaches to Music and Film Theory and History
James Buhler, UNIVERSITY OF TEXAS AT AUSTIN, “Toward a Theory of the Part-talkie”
Lea Jacobs, UNIVERSITY OF WISCONSIN-MADISON, “Rethinking the Sync: Adorno, Eisler, and Eisenstein”
Jeff Smith, UNIVERSITY OF WISCONSIN-MADISON, “Paying the Piper at Paramount: Budgets, Shooting Schedules, and the Score for Midnight (1939)”
Andrew Johnston, NORTH CAROLINA STATE UNIVERSITY, “Chromatic Rhythms and Display Memories”

Q23. Stream Engines: Streaming Services and Media Distribution
Chair: Devon Powers, DREXEL UNIVERSITY
Jeremy Morris and Devon Powers, UNIVERSITY OF WISCONSIN-MADISON AND DREXEL UNIVERSITY, “Now Streaming: Control, Content, and Curation in Digital Music Services”
Blake Hallinan, INDIANA UNIVERSITY, “‘My Context Is My Query’: Algorithmic Flow as Emergent Entertainment Paradigm”
Eric Harvey, WEBER STATE UNIVERSITY, “Listening Like a Platform: The Reorganization and Intensification of Streaming Music Commerce”
Chris Baumann, STOCKHOLM UNIVERSITY, “It’s Not TV, It’s Netflix: On Streaming Netflix, Technological Obsolescence, and the Cultural Status of a Medium”

Session R 5:00 – 6:45 p.m.

R11. The Acoustic 1930s: Global Film Sound Technique and Aesthetic from Silent to Sound
Kathryn Kalinak, RHODE ISLAND COLLEGE, “New Means of Enormous Power: Soviet Film Music in the 1930s”
Charles O’Brien, CARLETON UNIVERSITY, “Film Sound and Dubbing Technique”
Jeremy Barham, UNIVERSITY OF SURREY, “When Is a Musical Film Not a Film Musical?: Diegetic and Generic Complexity in Germany’s First Sound Films”
Ling Zhang, UNIVERSITY OF CHICAGO, “The Comic Soundscape and Audiovisual Heterogeneity: Yuan Muzhi’s Scenes of City Life (1935) and Street Angel (1937)”
Respondent: James Lastra, UNIVERSITY OF CHICAGO

R12. Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion
Chair: Michael Baker, SHERIDAN COLLEGE
Co-Chair: Randolph Jordan, SIMON FRASER UNIVERSITY
Michael Baker, SHERIDAN COLLEGE, “Bear 71, Popular Music, and the Problem of Immersion”
Randolph Jordan, SIMON FRASER UNIVERSITY, “The Soundscapes of Mobile Periodization in Stan Douglas’s iOS app, Circa 1948
Milena Droumeva, SIMON FRASER UNIVERSITY, “Curating Everyday Life: Smartphones and Interactive Documentary as Daily Practice”
Respondent: Andrew Utterson, ITHACA COLLEGE
Sponsor: Documentary Studies Scholarly Interest Group

Special Event 8:00 – 9:30 p.m.

Experiments in 3D: Norman McLaren
Location: Henry F. Hall Building, Concordia University, 1455 boulevard de Maisonneuve Ouest, Room H-110
Please refer to Montreal vicinity map on page 32 for location. Join us for a screening of four recently restored stereoscopic and stereophonic shorts by renowned Scottish-Canadian animator and experimental filmmaker Norman McLaren. The evening will also feature a new documentary about McLaren’s musical compositions entitled Norman McLaren: Animated Musician, with its director Donald McWilliams in attendance. A brief question period will follow the screening with the National Film Board filmmakers, researchers, and McLaren collaborators who formed the restoration team.

Films to be screened in 3D:
Around Is Around, directed by Norman McLaren, 1951 (3D animation)
Now Is the Time, directed by Norman McLaren, 1951 (3D animation)
O Canada, directed by Evelyn Lambart, 1952 (3D animation)
Twirligig, directed by Gretta Ekman, 1952 (3D animation)
Norman McLaren: Animated Musician, directed by Donald McWilliams, 2014 (documentary live action)

Metro: Guy-Concordia
Directions: From the conference hotel—15 minute walk from the hotel. Walk west on René-Lévesque and then turn right on MacKay St. until you come to boulevard de Maisonneuve. The Hall Building will be on the north and west side of de Maisonneuve and MacKay.
Sponsors: Concordia University, McGill Institute for the Study of Canada, and the National Film Board

Saturday Individual Papers of Interest

N7. Yeidy Rivero, UNIVERSITY OF MICHIGAN, “The Original Miami Sound Machine: The Emergence of Miami as a Production Center for the US and Latin America”

Christopher Westgate, JOHNSON & WALES UNIVERSITY, “Passion Points for Latin@ Pop Music: Heat, Hits, and the Emotion of Economics”

P17. Ioana Uricaru, MIDDLEBURY COLLEGE, “No Melo—Music and Minimalism in Recent Romanian Cinema”

Q4. Andrew Ritchey, UNIVERSITY OF IOWA, “Trompe l’oreille: Dislocations of Sound and Sense in a Partly Québécoise Family of Recorded Sound Works by Michael Snow”

R7. Kathy Fuller-Seeley, UNIVERSITY OF TEXAS AT AUSTIN, “Becoming Benny: Jack Benny’s Production of a Radio Comedy Persona, 1932–1936”

Lauren Sklaroff, UNIVERSITY OF SOUTH CAROLINA, “The Hilarious Sophie Tucker: Humor, Womanhood, and the Dynamics of Delivery”

R20. Victoria Simon, MCGILL UNIVERSITY, “Anybody Can Be a Musician: Transparency and the Discursive Construction of Touch in Interfaces for Music Composition”

"Montreal skyline from McGill University" by Flickr user slack12, CC BY-NC-ND 2.0

“Montreal skyline from McGill University” by Flickr user slack12, CC BY-NC-ND 2.0

SUNDAY, March 29

Session S 9:00 – 10:45 a.m.

S16. Speaking of Sound: Historical Studies in Sound Practices and Technologies
Meredith Ward, NORTHWESTERN UNIVERSITY, “The Sound Industry Lays the Golden Egg: Noise, Electroacoustical Research, and the Adjustment to Film Sound”
Casey Long, UNIVERSITY OF WISCONSIN-MADISON, “First Thing I Learned . . . Is When to Say Ain’t: Dialect in 1930s Hollywood”
Jennifer Psujek, WASHINGTON UNIVERSITY IN ST. LOUIS, “‘Free to Do Anything’: Fight Club (1999), Indiewood, and the Composite Score at the Turn of the Twenty-first Century”
Matthew Perkins, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Sound Work: The Acquisition of Sound Labor and Division Thereof at Vitaphone and Warner Bros., 1925–1931”
Sponsor: Sound Studies Scholarly Interest Group

Session T 11:00 a.m. – 12:45 p.m.

T11. Sound, Technology, and Auditory Knowledge
Workshop Participants:

Session U 1:00 – 2:45 p.m.

U3. Workshop: What Can Disability Studies Do for Media Studies?
Chair: Bill Kirkpatrick, DENISON UNIVERSITY
Workshop Participants:
Elizabeth Ellcessor, INDIANA UNIVERSITY

U12. Music Structures and Affect
Katherine Reed, UNIVERSITY OF FLORIDA, “Between Grace and Nature: The Tree of Life’s Musical Dialogic Process and Formal Structure”
Phoebe Macrossan, UNIVERSITY OF NEW SOUTH WALES, “Constructing Glee’s Sung-through Musical Narrative through Spontaneity and Verisimilitude”
Christopher Culp, SUNY-UNIVERSITY AT BUFFALO, “‘This Isn’t Real, but I Just Wanna Feel’: Musicals, Television, and the Queer Ineffable Passage of Time”
Britta Hanson, UNIVERSITY OF SOUTHERN CALIFORNIA, “Music as Rhetoric in Contemporary Documentaries”

U18. Discontinuous Colonial Modernities of Media Film and Radio in British Malaya and Portuguese Southern Africa
Ines Cordeiro Dias, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Discourses of Urban Modernity in Portuguese Colonial Cinema”
Nadine Chan, UNIVERSITY OF SOUTHERN CALIFORNIA, “Cinematic Afterlives: Films of the Malayan Emergency at the Transition from Empire to Independence”
Peter Bloom, UNIVERSITY OF CALIFORNIA-SANTA BARBARA, “Learning the Speech of Counterinsurgency as National Allegory: BBC Radio and Instructional Propaganda Film during the Malayan Emergency”
Sponsor: Middle East Caucus and Radio Studies Scholarly Interest Group

Sunday Individual Papers of Interest

T7. Keir Keightley, UNIVERSITY OF WESTERN ONTARIO, “Tin Pan Alley Goes Silent: Two Films about the Music Industry in 1919”

T13. Roger Almendarez, NORTHWESTERN UNIVERSITY, “Radio Arte—The Formation of a Mediated, Local Latina/o Identity in Chicago’s Pilsen Neighborhood”

"Youppi ! (31 / 365)" by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

“Youppi ! (31 / 365)” by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

Standing Up, For Jose


Round Circle of ResonanceThe following video installation by Mandie O’Connell, is part three of a four part series, “Round Circle of Resonance” by the Berlin based arts collective La Mission that performs connections between the theory of José Esteban Muñoz and sound art/study/theory/performance.

The first installment and second installments ran last Monday.  The opening salvo, written by La Mission’s resident essayist / deranged propagandist LMGM (Luis-Manuel Garcia) provides a brief introduction to our collective, some reflections on Muñoz’s relevance to our activities, and a frame for the next three missives from our fellow cultists. It is backed with a rousing sermon-cum-manifesto from our charismatic cult-leader/prophet, El Jefe (Pablo Roman-Alcalá).  Next Monday, our saucy Choir Boy/Linguist (Johannes Brandis) will close the forum with a dirge to our dearly departed José (August 9, 1967- December, 4, 2013).

LMGM a.k.a. Luis-Manuel Garcia (curator)

“Standing Up”

Concept and Performance: Mandie O’Connell

Filming and Editing: Piss Nelke

Music: Khrom Ju (La Mission)

Artist’s Statement

Piss is Power.

Power exists in urination, in this basic and most crucial of bodily acts.  Problems with urination can result in embarrassment, infection, hospitalization.  And yet so many of us women encounter confining, unfair, cruel, and Puritan limitations to where, when, and how we can pee, while our male counterparts traipse around urinating wherever they please.  It is time, brothers and sisters, to re-politicize piss.

Brother Muñoz taught us that utopian projects require fellow participants, not audiences. We need a Urinary Utopia, a Piss Paradise that is open to men, women, trans and intersex people of all colors.  Let’s shower down a blissful piss, a rainbow-colored golden shower where we all can piss wherever the fuck we want to!

"Magical Pissing" by Flickr User Studio Grafico EPICS

“Magical Pissing” by Flickr User Studio Grafico EPICS

In my performance video, I attempt to create a Muñoz-inspired utopian sensibility through the enactment of a new modality of an everyday action.  I use a Female Urination Device—which enables me to stand up and urinate—to take a Yellow Adventure around my neighborhood.  I piss freely in places where my penis-having brethren piss.  I piss in a urinal next to which “Piss on me Bitch” is crudely scrawled. I piss into the river Spree, symbolically owning it with my liquid gold.  Finally, I write my name in piss, a macho action turned feminine, the power and privilege of said action redirected towards my vagina.

In “Standing Up,” three different sounds are mixed together to create the soundscape of the performance: ambient noise, music, and sound clips of urination.  The ambient noise serves to locate the scene in space/time.  The music by Khrom Ju was selected to give the performance an eerie, strange, and repetitive undertone.  The sound of urination was recorded live and is the sound of female urination.  We use this sound both as a cue and as comic relief.  Piss is funny, piss is strange, and piss happens all around us.

don't piss

“Hackney Rd E2 PISS” by flickr user Stupid Pony

Urination and the female struggle around it is a real struggle that really happens and really matters.  Exceptionally long lines for the ladies’ room, the inability to publically urinate at festivals due to feeling exposed and shamed, being charged money to use toilet facilities when males can piss outdoors for free, getting forced to use a ladies’ room when your sexuality sways towards using the men’s room, the list of complaints goes on and on.  So I say: pee where you want, not where others want you to.  Pee on administrators, police, politicians, and oppressors of all kinds while you’re at it!

I refuse to adhere to these rules anymore, and I beg you to follow my lead.

Piss is Power.

Featured Image adapted from  “Pee” by Flickr User Melissa Eleftherion Carr

Mandie O’Connell (yo) aka “Knuckle Cartel, is  a former big cheese and intellectual powerhouse behind the wildly successful Seattle-based experimental theater company Implied Violence. I, Mandie, have experienced the same “conservatism” and capitalistic partnership between Money and Art in the performance/theater scene. Witnessing firsthand the immense power that cash-wielding creeps hold over creatives is sickening, sad, and sordid. I’ve had enough, and so have you…right? Let’s fix a broken system. If we can’t fix it, let’s circumvent it. 

tape reelREWIND!…If you liked this post, check out:

Queer Timbres, Queered Elegy: Diamanda Galás’s The Plague Mass and the First Wave of the AIDS Crisis

-Airek Beauchamp

On Sound and Pleasure: Meditations on the Human Voice–Yvon Bonenfant

Sound Designing Motherhood: Irene Lusztig & Maile Colbert Open The Motherhood Archives– Maile Colbert


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