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.
How does making video differ from writing about it? What power do images and video-making tools have to change thoughts, or to think themselves? These questions motivated this virtual roundtable discussion between individuals with differing intellectual and professional relationships to video practice – a video artist, essayist, and documentarist.