Chloe Turner examines how remixing, in a 2013 festival performance by the artist and activist boychild, acts as an agitative, queer design practice for building radical, new collective trans futures.
Lynn Gommes discusses the tensions between the discourse of Europe as the ideal of democracy and the inhumane actions taking place at their borders.
Virtual reality (VR) technology is an increasingly popular way for artists to experiment with storytelling techniques. In this long read, Nicholas Burman discusses the role of space, agency, and the haunting aspects of Daniël Ernst’s three part installation Die Fernweh Oper.
“Dis Harmony is a fictional character, the contra alter ego of Harmony, a sex doll driven by an app that allows the user to create a virtual girlfriend sold on realbotix.com. Harmony is the cruel promise of a girlfriend who will never cheat on you. Well, we found ways to hack the software. Dis Harmony fucks Harmony but…
In this addition to the “Practices of Musicking” series, author Edda Starck explores the creation and acquisition of aural knowledge through listening-oriented practices. How do we come to both hear and think of the passing of time, and how can listening situate us to the rhythms that punctuate and proliferate our daily lives in a way in which we can hear how we and the objects that comprise our aural soundscapes pass through time?
As part of our series ‘Practices of Musicking’, Zeno Siemens attunes to the non-sonic forms of ‘singing’ exhibited by deaf performers in Christine Sun Kim’s ‘Face Opera II’. These embodied, visual and spatial acts of signing and facial expressions offer a musical experience accessible only through a non-aural, embodied practice of listening.
Cultural Analysis pioneer Mieke Bal reconsiders critical practices of listening through an analysis of her video installation ‘Nothing is Missing’, demonstrating the importance of attuning to the unique pains of separation brought about by immigration policies.
As part of the course ‘Musicology of the Everyday’, MA students were encouraged to dwell on the hidden, potentially radical significance of seemingly mundane experiences listening to music, by writing brief and informal accounts of their day-to-day musical encounters.
For the first piece in series ‘Practices of Musicking’, Suzi Asa attempts to understand her musical experience in Turkish taverns (‘meyhanes’) through illustrations that she terms ‘meyhanescapes’. Exploring the extra-sonic, embodied aspects of this ‘musicking’ experience, her visualisations allow us to rethink the nature of music and musical perception as based in practice – and not merely as aural ‘practices of listening’.
What is affect? In this epistolary exchange, which originated as an exploratory and collaborative research project for a tutorial, a group of students share thoughts organised in part by this question, by thinking through and with different approaches to the concept of affect.