Sensing the Sonic: Histories of Hearing Differently (1800-now)
15 June 2018 - 16 June 2018
CRASSH, University of Cambridge
SG1 and SG2, Alison Richard Building
Melissa Van Drie (University of Cambridge)
Melle Kromhout (University of Cambridge)
What happens when hearing doesn't do what it purportedly should?
Often hearing and sound are predominately considered from an ear-centric perspective. We will explore alternatives to this singular ear, engaging various historical, theoretical and methodological positions. Putting forward an exploratory format, participants will ignite discussions that challenge notions of embodied presence and investigate different materials and research strategies for hearing differently from the 19th century to the present. How can we reconsider the modalities and practices of the sensing body (human and non human, disabled or augmented)? How can we address the particularities of the material event of sound itself? How can think about the sorts of energetic and ‘presencing’ spaces that sound produces?
Participants include: Zeynep Bulut, Melissa Dickson, Nina Eidsheim, Bastien Gallet, Julian Henriques, Douglas Kahn, Seth Kim-Cohen, Aleks Kolkowski, Sander van Maas, Mara Mills, Gascia Ouzounian, Matthieu Saladin, Holger Schulze, Jonathan Sterne, David Trippett, and Shelley Trower.
This event will happen in relation with the international conference 'The Audible Spectrum: Sound Studies, Cultures of Listening and Sound Art
' (7-9 June 2018 in Paris), convened by Stéphane Roth and Marion Platevoet (Cité de la musique-Philharmonie de Paris), Bastien Gallet (Haute École des Arts du Rhin), and Matthieu Saladin (Université Paris 8).
Day 1 - Friday 15 June
9.00 - 9.30
Registration9.30 - 10.00
Introductory Remarks10.00 - 11.15
Douglas Kahn (University of New South Wales, Sydney)
'Sound as One Energy Among Others'
Seth Kim-Cohen (School of the Art Institute of Chicago)
'The First Annual Convocation of the Shallow Listening Institute'
Nina Eidsheim (UCLA)
'Using Ankhrasmation Theory to Listen Differently'
Holger Schulze (University of Copenhagen)
'Idiosyncrasies, Corporealities, Situatedness: Three Memos for Sound In The 22nd Century'
11.15 - 11.45 Break
11.45 - 13.15
Panel One Discussion
13.15 - 14.30 Lunch
14.30 - 15.45
Shelley Trower (University of Roehampton)
'20 Vibrations Per Second'
Zeynep Bulut (Queen's University Belfast)
Gascia Ouzounian (University of Oxford)
'Powers of Hearing: Acoustic Defense during the First World War'
Matthieu Saladin (Université Paris 8 / Labex Arts-H2H)
'Capturing the inaudible'
15.45 - 16.15 Break
16.15 - 17.45
Panel Two Discussion
Day 2 - Saturday 16 June
9.30 - 10.45
Jonathan Sterne (McGill University)
'Sonic Time as a Plastic Art: The Springer Pitch and Time Regulator'
Mara Mills (New York University)
'Words per Minute: Speed Listening in the 1970s'
Sander van Maas (University of Amsterdam)
'Listening Culture and Book Concepts'
Aleks Kolkowski (Artist / Independent researcher)
10.45 - 11.15 Break
11.15 - 12.45
Panel Three Discussion
12.45 - 13.45 Lunch
13.45 - 15.00
David Trippett (University of Cambridge)
'Hearing the Animal Sensorium'
Bastien Gallet (Haute École des Arts du Rhin)
'Listening with the Bugs'
Melissa Dickson (University of Birmingham)
'Measuring the Limits of Human Hearing: The Galton Whistle'
Julian Henriques (Goldsmiths, University of London)
'The Sonic Womb'
15.00 - 15.30 Break
15.30 - 17.00
Panel Four Discussion
17.45 - 19.30
Experiments and Drinks
(At the 'Old Labs', Newnham College)
Úna Monaghan and Ita Monaghan - Installation: Sound Experiment
The Old Labs at Newnham College were built as a chemical laboratory towards the end of the 19th century, to accommodate women scientists, who were not permitted to access the main laboratories in Cambridge University. This installation, in an original fume cupboard, is about the boundary between scientific experimentation and creative experimentation.
Aleks Kolkowski - Wax Cylinder Workshop: Creating an Auditory Palimpsest
A live demonstration of acoustic recording onto wax cylinders. The aim is to demonstrate how this medium may be transformed into an auditory palimpsest containing multiple traces of sounds, achieved through techniques of partial erasure and superimposed recording.
Zeynep Bulut - Map a Voice