The 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)
Concept and Performance: Mandie O’Connell
Filming and Editing: Piss Nelke
Music: Khrom Ju (La Mission)
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!
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.
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.
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On Sound and Pleasure: Meditations on the Human Voice–Yvon Bonenfant
In the UK there has never been much scope for radio art within the realm of public service broadcasting, leading artists to seek funding for their own independent projects, predominantly from the Arts Council of England (ACE) and other state funding bodies and charitable trusts. In this article, the final in Sounding Out!‘s series Radio Art Reflections, I will consider this recent avenue of practice, because its results – in terms of audience composition, artistic output and the wider cultural context of the form – shed light on both the particular context of radio art practice in the UK, and also have implications for the wider struggle for sustainable independent media networks against the diminished imaginative horizons of a public broadcast culture endlessly inured to ‘unavoidable’ cuts and the free market enclosure of the digital commons.
In the name of ‘austerity’ such cuts have been inflicted upon broadcasters worldwide. The loss of key radio arts programmes like Australia’s Listening Room, as discussed in the last post by Colin Black, is by no means the exception, even in an age of expansion in digital spaces. As De Lys stated way back in 2006 it may be considered “[i]ronic that the ‘rationalization’ of radio arts by public broadcasters occurs at the same time that audio arts activity and the creative use of sound are expanding exponentially in community spaces, in galleries, games, and online.” (De Lys, S and Foley, M; 2006, “The Exchange: A Radio-Web Project for Creative Practitioners and Researchers” Convergence; The International Journal of Research into New Media Technologies, 12; 129, Sage)
Elsewhere, institutional affirmation through public broadcasting connects local, national and international art radio broadcasters, as it also empowers two long running international radio art competitions that continue today: the Prix Italia set up by RAI, in 1948, to engage creatives to work with radio and create new works for the medium; and the The Karl Sczuka Prize for Radio Art, established by SWR in Germany in 1955, notable (sadly) for how so few women artists have ever won the awards. For Kersten Glandien, contributing to the Reinventing The Dial symposium back in 2009, the availability of public radio funding in the 80s and 90s enabled a heyday of commissions and festivals, events and prizes (Glandien, K; 2009. Keynote Paper given at Reinventing the Dial Symposium. Canterbury Christ Church University).
No such radio art competition or open call for new radio art work has ever been run by the BBC, highlighting its resistance to the form. At present the BBC runs just one experimental programme that has been on air for 20 years: Between The Ears on BBC Radio 3, which leans towards more narrative-centered features reflecting Black’s issues with ABC’s Soundproof discussed in the last article.
ART STATIONS AND COMMUNITY RADIO IN THE UK
The first experimental art radio station in the UK went on air in Liverpool for a week in 1995, Hearing is Believing on 105.8FM. As Scanner wrote at the time it offered the chance for listeners to hear “sound works, performance and innovative documentaries that would never receive airplay on even the most ‘progressive’ FM bands. Remember, BBC Radio still has problems playing certain works of Stockhausen because they contain randomly-culled shortwave radio signals.”(The Wire, 1995). That inspired the London Musicians Collective to run its own month long arts station in Resonance 107.3FM in 1998. I was part of its action group and then its steering group as the station went full time in 2002.
Tight regulation across public and commercial radio in the UK also meant that artists were late to explore the medium. Trevor Wishart reminisced with me at Radio Without Boundaries about a radio piece he made with the BBC in mind that took over 28 years to be played on the radio in the UK, being not sufficiently ‘musical’ for a music station and not ‘dramatic’ enough to fulfill the conventions of drama.
In this context, community radio has been an important if limited platform and nurturing site for new radio art. There are now over 200 such stations in the U.K. but only two dedicated to the arts community: Resonance FM and Soundart Radio at 102.5 FM, the latter based in Devon since 2006. Soundart Radio exists on a hand-to-mouth basis via small grants to provide training for disadvantaged groups. Resonance FM, by contrast, has achieved regular funding by walking a line between its community status and its avant garde roots. Its success is due largely to its location and the exceptional work of volunteer artists and musicians who have developed innovative programming without budgets.
Arts Council England increased Resonance’s funding as it became a ‘national portfolio organisation’ in 2012. The station may tower over other most community stations, but its yearly funding is still only comparable with that of many regional arts festivals. Moreover, radio art is only a small part of what Resonance broadcasts, and is mostly scheduled as discrete programmes such as Radia, and as less frequent one-off programming such as Remote Performances a collaboration between London Fieldworks, the Live Art Development Agency and ACE, broadcasting 20 live mostly music based performances for a week from Glen Nevis, Lochaber, Scotland.
FUNDING RADIO ARTISTS
Open funding for artists directly from community radio stations is very limited and ad hoc. The Community Media Association was able to offer small commissions for Modulate, an open call to encourage artists to team up with community stations to encourage more arts diversity and address the fact that around “70 per cent of the community radio sector’s programming is music-based” (CapeUK, 2008, p.08). Meanwhile, Art Transmission was a welcome one-off project early this year run by Francis Knight who commissioned three sound artists including Jane Pitt and Xentos Jones to work with young boxers and steam railway enthusiasts to make radio works for the small community station BRFM on the Isle of Sheppey. A recent CapeUK report concluded that Community radio “offers creative and artistic freedom to their contributors unmediated by the editorial control exercised in commercial or public service broadcasting.” (CapeUK, 2008, p.20).
It would be naive to imagine editorial constraints do not exist in the community radio sector. This is perhaps why several British artists have gone it alone to retain autonomy by running their own short durational arts stations as Restricted Service Licenses for projects which run for up to 28 days and can broadcast up to 25 watts, such as Kaffe Matthews Radio Cycle (2003) and Tom McCarthy and INS Calling All Agents (2004), Celestial Radio (2008), Boat Radio (2012), Writtle Calling (2012), Radio Boredcast (2012) and The Dark Outside (2012-14) all funded by The Arts Council. This marks an increasing trend in the UK of artists-curated FM stations.
Grants for the Arts from ACE offers a way for artists to receive funding to make new work. My own group Radio Arts has, through funding from ACE and Kent County Council, been able to recently commission new radio art works for broadcast from Colin Black (AU), Arturas Bumsteinas (LITH), Iris Garelfs (GER), Anna Friz (CAN), Louise Harris (UK),Olivia Humphreys (UK),Langham Research Centre (UK), GX Jupitter- Larsen (US), Carlo Patrao (PORT), Mikey Weinkove (UK),Joaquim Cofreces (Argentina), Esther Johnson (UK), Michael McHugh (UK), Gregory Whitehead (USA), as well as Radio Arts members Genetic Moo, myself and James Backhouse (UK). Radio Arts ran a series of workshops, a radio art showcase exhibition and will be running a forthcoming live event and online gallery and further workshops next year alongside broadcasts of the new works to be heard on eight partner stations in four countries.
However, such work can only continue with further funding. For me it is important to move away from the current creative commons ethos, where no one is ever paid to participate. We should allow sound and radio artists to gain a fee to produce new radio work, particularly as the Artist Network in the UK is campaigning for artists to be paid in galleries.
MICROBROADCSTING AND ARTS SPACES
Another interesting area which has taken off from Japanese radio artist Tetsuo Kogowa is micro broadcasting, the use of small range transmitters allowing artists to broadcast in a localized space of up to one watt, without the need for a license, either by building the transmitters or buying them readymade. These work well for radio installation and have allowed me to continuously play works as discrete stations and produce surround works allowing a different voice or sound to emanate from each radio in the installation. For eight years, mostly unfunded, I worked on Switch Off a PhD radio art project documented on my blog creating eight different fictional stations as micro broadcast installations each imaging a future use for FM when it has been abandoned in the UK these works explored radio art practice from a post digital perspective.
Micro broadcasting these works proved to be a very liberating way of sharing radio art work in galleries and outside of conventional radio broadcasts and allowed me to really experiment without constraint, whilst the web has brought me closer with other international artists and communities to share practice and projects. Having used radios as a readymades for multiple and surround installations my experience has led me to new ways of thinking about installation work such as a bespoke transmitting book Spiritual Radio 2014, which broadcasts itself and awaits the listener to find its frequency.
Following this line, many online arts stations have been set up by galleries and arts spaces, often as temporary projects. Online arts station Basic FM started in 2011, and was a project of Newcastle independent cinema Pixel Palace having hosted Vicki Bennett’s Radio Boredcast at the AV Festival (2012). It “presented an audio gallery that exhibited the work of those making interesting noise: sound collage, found sound, spoken word, discourse, dialogue and discussion, musique concrète or original, remixed and detourned musics” (Basic FM, 2014, website). Run by one part-time member of staff and funded by the Arts Council to run for thirty months until 30th Sept 2014 Basic FM did not carry on due to lack of further funding, a real loss after it steadily building up its reputation as the third full time arts station in the UK.
It seems that in the UK the lack of artistic airspace on public and community radio has been sidestepped by radio artists who have forged their own stations to redefine public space in myriad forms. And there are possibilities in the future. The latest temporary UK arts station call comes from the well regarded CCA Gallery Glasgow Radiophrenia next year, while London’s Tate Britain is currently running a family programme Radiocity and its community programmes have commissioned myself and Jim Backhouse from Radio Arts to run a series of workshops called Reclaim the Waves from the end of February, working with the local Westminster community to document the changing city and produce a participatory radio installation for exhibition.
Magz Hall is a sound, radio artist and founder of Radio Arts an artist led group who promote radio art. Her work has been exhibited in the British Museum, the Sainsbury Centre, MACBA Barcelona, Denmark, Italy, Germany, Norway, Morocco, Canada and the USA and broadcast internationally. Her ambisonic soundtrack of Hong Kong Airport at the British Museum was described as “extraordinary and rich.” Radio Mind (2012) an “intriguing and beautiful work” was commissioned by the Lightworks Festival. Her most recent work Spiritual Radio (2014) “looks like a hardback on life support” (TLS) was commissioned for ‘Unbinding the Book’a touring exhibition. A senior lecturer at Canterbury Christ Church University and a founder of London’s arts station Resonance FM, she has just completed a practice based PhD on radio art at CRISAP, LCC, University of the Arts London entitled Radio After Radio: Redefiningradioart in the light of new media technology through expanded practice.
Images courtesy of the artist.
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I want to enable my students to mobilize sound studies not just as an analytic filter to help them understand the world, but as a method enabling more meaningful engagement with it. This post, an abbreviated version of the paper I recently gave at the Invisible Places, Sounding Cities Conference in Viseu, Portugal on July 18, 2014, explores my pedagogical efforts to move my sound studies work from theory to methodology to praxis in the classroom and in my larger community. In particular, I am working to intervene in the production of social difference via listening and the process by which differential listening practices create fractured and/or parallel experiences of allegedly shared urban spaces.
Inspired by ongoing efforts such as ReBold Binghamton–the visual arts group alluded to by my assignment’s title– Blueprint Binghamton, and the Binghamton Neighborhood Project, I wanted to articulate sound studies methods with long-term community engagement interventions. I decided to task the upper-level undergraduate students in my Spring 2014 “How We Listen” course with designing community engagement projects that identified and addressed an issue in Binghamton, the de-industrialized town in upstate New York housing our university. My students’ proposals ranged from rain-activated sound art, to historical sound walks that layered archival sounds with current perceptions, and a “noise month” sound-collection and remix project designed to challenge entrenched attitudes. They then presented the projects via a public poster session open to faculty members, administrators, community representatives, and peers.
Working with local residents and using asset-based theories of civic engagement, the students’ projects sought to re-sound Binghamton, enhancing existing forms of communication, amplifying hidden sounds and histories, and creating new sounds to resound throughout Binghamton’s future. While the students initially set out to “fix” Binghamton—bringing year-round residents into the world as their largely 18-21 selves heard it—the majority opened their ears to alternative understandings that left them questioning the exclusivity of their own listening practices. Students realized that while they may have been inhabiting Binghamton for the past few years, they hadn’t been perceptually living in the same town as year-round residents, and, conversely, that the locals’ tendencies to hear students as privileged nuisances had historical and structural roots.
The historical, theoretical, and methodological groundwork that scholars of sound have laid in recent decades toward heightened social and political understandings of sound—fantastic in volume, quality, AND reach—have equipped sound studies scholars with powerful critical tools with which to build a more directly, civically engaged sound studies, one as much interested in intervention and prevention as continued reclamation and recovery. Scholar-artists such as Linda O’Keeffe have begun to fuse audio artistic praxis with the more social science-oriented field of urban studies. O’Keeffe’s community project, highlighted in “(Sound)Walking Through Smithfield Square in Dublin,” set out to solve an audio- spatial problem at the very heart of the city: why did the city’s efforts to “rehabilitate” the landmark Smithfield Square—which had been a public market for hundreds of years—bring about its demise as a thriving public space rather than its rejuvenation? Equipping local students with recorders, O’Keeffe documented the students’ understanding of the space as “silent,” even though it was far from absent of sound. She noted local teenagers felt repelled by the newly wide-open square; the reverberation of their sounds as they grouped together to chat made them feel uncomfortable and surveilled—so it remained an isolating space of egress rather than a gathering place.
Importantly, O’Keeffe’s conclusion moved beyond self-awareness to political praxis; she presented her students’ self-documentation to Dublin city planners, intervening in Smithfield’s projected future and attempting to prevent similar destruction of other thriving city soundscapes unaligned with middle-class sensory orientations. O’Keeffe’s work sparked me to think of listening’s potential as advocacy and agency, as well as the increasing importance of reaching beyond the identification of diverse listening habits toward teaching people to understand the partiality and specificity of their sonic experience in combination with the impact listening—and the power dynamics it is enmeshed in—has on the lives, moods, and experiences of themselves and others. Listening habits, assumptions, and interpretations do not just shape individual thoughts and feelings, but also one’s spatial experience and sense of belonging to (or exclusion from) larger communities, both actual and imagined. Learning to understand one’s auditory experience and communicate it in relation to other people enables new forms of civic engagement that challenge oppression at the micro-level of the senses and seeks equitable experiences of shared space to counter the isolating exclusion compelled by many urban soundscapes.
O’Keeffe’s project also made me rethink how space-sound is shaped through social issues such as class inequity, particularly in my community of Binghamton, a small town of approximately 54,000 currently facing profound economic challenges. The end of the Cold War devastated Binghamton’s economy—then primarily based in defense—and the economic downturn of the early-1990s provided a knock-out punch, severely impacting the region in ways it has yet to recover from: the behemoth local IBM relocated to North Carolina, manufacturing jobs permanently decreased by 64%, and the population shrank almost by half. Recent climate-change induced disasters have also left their mark; massive floods in 2005 and 2011—on a geographic footprint historically flooding only 200-500 years—displaced thousands of low-income residents, destroyed many businesses, and collectively caused close to 2 billion dollars in damage. The global recession of 2008 left over 30% of Binghamton’s residents below the poverty line, including 40% of all children under 18.
The campus, 12,000 undergraduate students strong, often seems remote from the city I just described. Only 6% of BU students are drawn from its surrouding Broome County. The vast majority (60%) of BU’s students hail from the New York City metro area, a site of racialized economic tension with the rest of the state, evidenced by campaigns such as “Unshackle Upstate.” Indeed, Binghamton’s student body is more racially diverse than Binghamton the city (Vestal, where the university is located, is 88% white), and even though the relatively low-cost public university–approximately eight thousand dollars a year for in-state tuition– serves many first-generation college students, students with generous financial aid packages, and students employed while matriculating, the city’s poverty amplifies even slight class privilege.
These long-term structural fissures have led to tensions between the university students—whom some Binghamtonians problematically peg as wealthy outsiders and/or racially target—and full-time residents, dubbed “Townies” by many students and dehumanized as the backdrop to their college experience. While students and year-round residents inhabit the same physical spaces in Binghamton, they are not in fact living the same place and they often experience, interpret, and act on the same auditory information in drastically different ways. Binghamton sounds differently to each group, in terms of the impressions and interpretations of various auditory phenomena as well as the order of importance an individual gives to simultaneous sounds at any given moment.
Embodied aural perceptions shaped by class, race, age, and differing regional experience may in fact drive many of the “town and gown” conflicts—noise complaints most obviously—and exacerbate others, particularly mutually distorted perceptions that students bring Binghamton down and that residents are, as one student cruelly stated in the campus newspaper, “creatures” from “an endless horror movie.” So how to address this divide? And how to use sound studies to do it? I knew I did not want to impose a community project on my students that did not have their buy in and creative energy behind it. I decided on a group-sourcing project that asked students to work together to design a sound-studies based community project. I envisioned the assignment as the first phase of a longer-term project, with the most workable idea serving as the basis for a full-blown service learning experience in future courses. However, the assignment proved to be pedagogically valuable in its own right, not just as a prelude to future work.
I arranged my course around the proposal assignment, providing students with the critical thinking skills to imagine a project of this type. We began with theoretical and methodological materials that would introduce them to sound studies—none of my students were familiar with the field and its assumptions—and ground their thinking in the idea that listening is a complex sociocultural, political, and critical practice. While we read and discussed multitude of pieces on listening, the students reported four scholars as especially inspirational to the project: Yvon Bonenfant’s theorization of “queer listening” as a listening out (rather than the more normative taking in), Regina Bradley’s work on race and listening in American courtrooms that focused on how white lawyers discredit witnesses speaking patois and African American Vernacular English, Maile Costa Colbert’s artistic imagining of a “wayback sound machine,” and Emily Thompson’s work on noise and time/space/place, particularly in her new interactive “Roaring Twenties” project. Student Daniel Santos reported in a survey following the project,
The relationship between sound and time was very useful to our project; we understood the concept that no city ever sounds the same after a long period of time, and we sought to take advantage of this fact. Through our residents’ stories, we learned that Binghamton was once booming with sound from numerous, lucrative industries. Walking into a factory brought an industrial cacophony: card punchers thudded as steel was pounded against steel. However, today, a walk into these factories results in an eerie silence. We wanted our soundwalk participants to realize and become affected by this lack of and difference in sound, and raise pertinent questions: what happened to these sounds? Why is there such a large difference in sound levels? Where do I place myself within this soundscape?
I worked with Binghamton’s Center for Civic Engagement—a model program founded in 2010—and in particular with Assistant Director Christie Zwahlen, to equip students with basic-but-solid knowledge that would enable a new understanding of community work. Zwahlen brought home two major principles to students: 1) service learning has a pedagogical component; it is important to a project’s success that students learn something through their work rather than merely donating time or skills, 2) Community engagement works best when based on identifying and mobilizing a community’s assets rather than implementing an external project addressing perceived deficits. These two concepts meshed especially well with the students’ evolving understanding of listening as multifaceted, political, and deeply impacted by temporal and spatial contexts, because it required the students to engage directly with community members and learn how to listen to their voices, histories, and needs.
For both civic engagement and sound studies, Zwahlen and I introduced students to the various methods used to solve problems and answer our most important questions. For civic engagement, Christie focused on the asset map, which forced students to think of the surrounding community in terms of its strengths rather than the weaknesses they could already readily list. This exercise not only flipped their perspective but also helped them imagine and hone their project by identifying community stakeholders who would be receptive to their inquiries.
In terms of sound studies, I introduced them to a multiplicity of methods through readings, experiential activities, and process writing, in particular sound provocations and sound walks. According to student Hannah Lundeen’s post-project survey, the sound walks she performed proved especially fruitful:
Initially, solving a community issue through sound seemed next to impossible. It wasn’t until sitting down and thinking about the sound studies methods of soundwalks that it became clear. I liked soundwalks because they are a way to engage anyone in sound studies. They are an easy concept to explain to people who may not have thought much about their soundscape previously. They are an active and fun way to engage all community members in listening well.
As Lundeen relates, interweaving these methods formed the foundation of their community projects, enabling their inquiries regarding understanding differences in listening, how to enable people to recognize and discuss aspects of their listening, and to provoke some kind of impactful social change.
The final third of the semester was devoted to working on the final project [Click these links for the Rubric for Final Poster Presentation we used to assess the projects as well as the assignment sheet with Tips for Successfully Completing this Project both of which I handed out on day one! ]. Following an initial period of research and discussion, students narrowed down their project ideas, identified and met in person with potential community partners–ReBold Binghamton, Binghamton’s Center for Technology & Innovation, the Parks Department and several City Council members were especially helpful– and put together their proposals, emphasizing their new understandings of listening and its relationship to space and place via community mobilization. Students prepared a 7-minute gloss of their projects for public presentation that
- identified an issue (supported by research)
- described how project addressed the issue
- presented community asset map as a foundation
- shared list of potential community partners
- discussed sound studies methodologies supporting the project
- estimated benchmarks for the project’s completion
- projected the project’s long-term outcomes
- prepared personal reflections on the process.
Here is a sampling from the rich palette of student project pitches:
- Restoring the Pride: A public art initiative building rain-activated sound sculptures.
- BUCS: Binghamton Unites Community with Sound: A public group karaoke project.
- Safe and Sound: A “kiosk walk” of 10-interactive electronic sound art pieces that increase downtown destination traffic by day and operate as a “blue light” safety system by night.
- Blues on the Bridge Junior: A children’s music stage at one of Binghamton’s most popular yearly events.
- Happy Hour: A weekly campus radio show designed to combat seasonal depression.
- Listen Up!: Sound Month Binghamton: An annual themed digital “sound collection month” in March with accompanying “sounds of Binghamton” remix project. This project fosters community habituation to “Others’” sounds while also tracking long-term changes in the soundcape and in residents’ ideas of noise.
- A Sound Walk Through Binghamton: Historical soundwalks through several areas in Binghamton, where archival sounds of the past (some compiled from recordings, some performed) are placed in continuity and contrast with contemporary soundscapes.
Zwahlen and I understand that this iteration of the project does not constitute civic engagement as of yet. Certainly, the students raised more questions than solutions: how to work with—and equitably solicit contributions from—community members rather than organize classroom-first? How to increase community involvement on a campus that is a foreboding maze at best—and how to increase student traffic in the many sites not reached by Binghamton’s limited public transportation? Most importantly, How to share sound studies epistemology beyond the classroom, creating listening experiences that not only take differences into account but potentially re-script them?
As we move forward with long-term development, we will undoubtedly encounter more questions. However, even at its earliest stages, I believe guiding my students to integrate sound studies methodologies with asset-based service learning provided them with a transformative experience concerning the powerful resonance of applied knowledge and sparked the kind of self-realization that leads to civically engaged citizens. It created meaningful connections between them and a local community suddenly made significantly larger. For my students, listening became more than a metaphor or an individualized act of attention, rather they began to understand its role as a material conduit of location, outreach, and connection. As an anonymous student shared in my teaching evaluations: “This class was different, but in a very good way. It has been so involved with the human experience, more so than with other classes.” In the middle of the so-called “humanities crisis,” this response points to the potential power of a civically engaged sound studies, a branch of the field combining research with praxis to reveal the role of listening in the building, maintenance, and daily experiences of diverse communities in the city spaces they mutually inhabit but often do not fully and equitably share.
Featured Image by Shea Brodsky, (L to R) Binghamton University Students Robert Lieng, Daniel Santos, and Susan Sherwood, Director of Binghamton’s Center for Technology & Innovation (CT&I)
Jennifer Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University and a recipient of the 2014 SUNY Chancellor’s Award in Teaching.
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