In this ground-breaking work, twenty-three authors investigate and discuss composer Pauline Oliveros' revolutionary practice of Deep Listening. From an education program reaching 47,000 San Francisco school children to electronic dance music (EDM) events held in remote desert locations, from underwater duets with whales to architectural listening, the multifaceted essays in this collection provide compelling depictions of Deep Listening's ability to nurture creative work and promote societal change.
Deep Listening: A Composer's Sound Practice offers an exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, meditators and anyone interested in how consciousness may be effected by profound attention to the sonic environment . Deep Listening(R) is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats. Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web.
The benefits of practicing true listening are very real. Through refining our listening skills, we not only understand just what to say; we also understand when not to say anything at all. We become more open, present, and responsive. In turn, we renew the sense of peace within ourselves. And the effects on our romantic, family, and professional relationships are undeniable. In The Wisdom of Listening, award-winning author, teacher, and trainer Dr. Mark Brady and contributors that include Ram Dass and A.H. Almaas, help us to develop the'' listening warrior'' inside us all. Inspiring and easy to follow, the lessons here can transform the ways that we interact with others, whether in a large meeting or in a face-to-face encounter. Listening is almost a lost art; some of us may have forgotten how to do it; some of us may have never quite learned. The Wisdom of Listening gives readers the skills to overcome our culture's tendency towards distraction and reaction, and to be more fully in the world.
Restorative justice is spreading like wildfire across the globe. How can we explain this burst of energy? This anthology makes the bold claim that restorative justice is a vibrant social justice movement. It is more than a great idea gone viral, more than the extension of the legal system, and more than enacting new legislation. Beginning in 2015, the contributors of this volume took part in a series of dialogues sponsored by the Zehr Institute for Restorative Justice, exploring the contours of the restorative justice movement. Each one writes from the burgeoning edges of their own context, inviting readers to consider the fidelity and integrity of the movement’s growth. As a cadre, the authors highlight new locations of restorative justice application: race, pedagogy, ecology, youth organizing, community violence reduction, and more. These diverse voices put forward a fast-paced, hard-hitting glimpse into the pulse of restorative justice today and what it may look like tomorrow.
The Body in Sound, Music and Performance brings together cutting-edge contributions from women working on and researching contemporary sound practice. This highly interdisciplinary book features a host of international contributors and places emphasis on developments beyond the western world, including movements growing across Latin America. Within the book, the body is situated as both the site and centre for knowledge making and creative production. Chapters explore how insightful theoretical analysis, new methods, innovative practises, and sometimes within the socio-cultural conditions of racism, sexism and classicism, the body can rise above, reshape and deconstruct understood ideas about performance practices, composition, and listening/sensing. This book will be of interest to both practitioners and researchers in the fields of sonic arts, sound design, music, acoustics and performance.
Bringing together contributors from Europe, North America and Australia, this book questions the purpose and outcomes of speculation in practical settings. In the context of interrelated and complex global challenges, speculation is not just useful but necessary. The chapters in this book present a cross-disciplinary dialogue of people that are developing work in speculation and interrogates its practices and ethical and political charges. Through these discussions, the book explores the potential of speculation in addressing issues such as climate change, urban futures and new political practices.
The Routledge International Handbook of Transdisciplinary Feminist Research and Methodological Praxis is organized around ways of doing fair and just research, with deliberate transdisciplinary overlap in each of the sections so as to share and demonstrate potential opportunities for lasting alliances. Authors and artists address topics that include the doing of original transdisciplinary research and engaging multiple communities in research; mentoring from both academic and community-based perspectives; creating and maintaining collaborative relationships; managing personal, professional, and financial challenges; addressing writing blocks and feelings of being overwhelmed; and experiences of care and joy. The range of feminist work invoked in this volume include, but are not limited to: intersectional feminisms, abolitionist feminism, Black feminism, Womanism, Chicana feminism, Latina feminism, BIPOC feminisms, Indigenous feminism, decolonial and postcolonial feminism, transnational feminism, gender and sexuality studies, queer feminism, trans feminisms, poststructural feminism, posthuman and more-than-human feminism, materialist feminism, crip feminism, feminist disability studies, quantum feminism, sonic feminisms, feminist science studies, science and technology studies, or STS, and more. From advanced graduate students to seasoned scholars, this volume presents timely knowledge and will be useful as a substantive guide to round out understandings of multiple approaches to feminist research.
Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (AUMI) brings together scholars, musicians, and family members of people with disabilities to collectively recount years of personal experiences, research, and perspectives on the societal and community impact of inclusive musical improvisation. One of the lesser-known projects of composer, improviser, and humanitarian, Pauline Oliveros (1932–2016), the AUMI was designed as a liberating and affordable alternative to the constraints of instruments created only for normative bodies, thus opening a doorway for people of all ages, genders, abilities, races, and socioeconomic backgrounds to access artistic practice with others. More than a book about AUMI, this book is an invitation to readers to use AUMI in their own communities. This book, which contains wisdom from many who have been affected by their work with the instrument and the people who use it, is a representation of how music and extemporized performance have touched the lives and minds of scholars and families alike. Not only has AUMI provided the opportunity to grow in listening to others who may speak differently (or not at all), but it has been used as an avenue for a diverse set of people to build friendships with others whom they may have never otherwise even glanced at in the street. By providing a space for every person who comes across AUMI to perform, listen, improvise, and collaborate, the continuing development of this instrument contributes to a world in which every person is heard, welcomed, and celebrated.
This volume looks at masking and unmasking as indivisible aspects of the same process. It gathers articles from a wide range of disciplines and addresses un/masking both as a historical and a contemporary phenomenon. By highlighting the performative dimensions of un/masking, it challenges dichotomies like depth and surface, authenticity and deception, that play a central role in masks being commonly associated with illusion and dissimulation. The contributions explore topics such as the relationship between face, mask, and identity in artistic contexts ranging from Surrealist photography to video installations and from Modernist poetry to fin-de-siècle cabaret theater. They investigate un/masking as a process of transition and transformation – be it in the case of the wooden masks of the First Nations of the American Northwest Coast or of the elaborate costumes and vocal masking of pop icon Lady Gaga. In all of these instances, the act of un/masking has the power to simultaneously hide and reveal. It destabilizes supposedly fixed identities and blurs the lines between the self and the other, the visible and the invisible. The volume offers new perspectives on current debates surrounding issues such as protective masks in public spaces, facial recognition technologies, and colonial legacies in monuments and museums, offering insight into what the act of un/masking can mean today. With contributions by Laurette Burgholzer, Joyce Cheng, Sarah Hegenbart, Bethan Hughes, Judith Kemp, Christiane Lewe, W. Anthony Sheppard, Bernhard Siegert, Anja Wächter, and Eleonore Zapf.
