this book is a diary derived from the careful editing of a vast series of notebooks: a complete yet diverse ensemble of investigations, lecture notes, travel diaries, poems, short fictions, summaries, and projects. owing to the performance of her writing, the image created shows not only the life of an artist but also the way she transmits her experience, and how she conceives the current state of the arts. between self-help and an artistic frankenstein, this book covers ten years of atomized writing, scattered notes which have found their axis many years later. experience is considered to be a multisensorial collage, and drawing is a modest and subtle companion, but also a powerful tool to transform reality. for the author, writing is pouring life directly into notebooks: a mobile registry which records impressions at any time, and at its own pace.
reimagining how we understand and write about the indigenous listening experience?
hungry listening is the first book to consider listening from both indigenous and settler colonial perspectives. a critical response to what has been called the “whiteness of sound studies,” dylan robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. this, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of indigenous song as history, law, and medicine.
with case studies on indigenous participation in classical music, musicals, and popular music, hungry listening examines structures of inclusion that reinforce western musical values. alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, hungry listening offers examples of “doing sovereignty” in indigenous performance art, museum exhibition, and gatherings that support an indigenous listening resurgence.
throughout the book, robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.
(来源indiebound) (1)检索条件： Performing arts ( 主题词 )
责任者 Jean-Claude Lebensztejn ; préface Philippe-Alain Michaud
出版信息 Macula ,2021
ISBN 978-2-86589-130-6
责任者 sous la direction de Jean-Philippe Trias
出版信息 Éditions Mimésis ,2021
ISBN 978-8-86976-249-9
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