Minor Acoustics

2021 ◽  
pp. 452-470
Author(s):  
Brandon LaBelle
Keyword(s):  
Social Recognition ◽  
Sound Art ◽  
Global Environment ◽  
Politics Of Identity ◽  
Dominant Discourses ◽  
Nonhuman Species

The essay explores sound as a dynamic medium for facilitating and enabling unique forms of relationality. Specifically, this leads to investigating how sound contributes to socially engaged and sited art work, affording involvement in radical forms of sharing and affinity. From nonhuman species to abandoned buildings, found matter to strange publics, practices of sound art often steer us towards experimental forms of relationality, where experiences of contact are elaborated beyond the strictly social. Such an auditory position may challenge and extend a politics of identity and community, shifting the dominant discourses of social recognition. Following such relational views, sound is underscored as a means for enriching the complexity of what it means to live together in this global environment.

SURVEY ON TRANSITION OF THE SOCIAL RECOGNITION RELATED TO ENVIRONMENTALLY SYMBIOTIC(Global Environment)

2004 ◽  
Vol 10 (19) ◽  
pp. 365-368
Author(s):  
Toshiyuki FUKUDA ◽  
Akio KOYAMA ◽  
Masafumi KIKUCHI ◽  
Yoshihiro YAMAGUCHI
Keyword(s):  
Social Recognition ◽  
Global Environment ◽  
The Social

scholarly journals AN ELUCIDATION OF PUBLIC SOUND ART THROUGH A NON-SONOROUS TRADITION

2012 ◽  
Vol 2 (1) ◽  
pp. 44-60
Author(s):  
María Andueza Olmedo
Keyword(s):  
Public Space ◽  
Social Space ◽  
Dominant Role ◽  
Specific Area ◽  
Social Recognition ◽  
Sound Art ◽  
The Public ◽  
The Awakening ◽  
The Public Sphere ◽  
The City

The origins of sound art are usually traced to previous sonorous artistic manifestations such as futurism or fluxus (see Labelle, 2006; Kahn, 1999). However, in non-sonorous manifestations it is also possible to appreciate some features of sound art that go beyond the dominant role that sound plays. By adding to the topic of sound art essential notions of temporality, spatial construction and social recognition, the emergence of a sonorous artistic practice which goes beyond the mere use of sound is revealed. In this sense, research in public sound art, which is the primary topic of this paper, provides three issues to which it is important to pay attention in order to pose new sound art theories and ideas: First, the viewer-listener, considered simply as a citizen; second, the city, understood as a sculptural space and a social space, and finally, derived from the previous two, the transformation of the concept of ‘space’ in the practices concerning the public sphere of art. The implementation of these concepts, which took place naturally in different artistic domains, represented the beginning of the creative use of sound and, specifically, the awakening of public sound art. For this reason, based on sound art studies, as mentioned above, the projection of the article goes beyond these writings in an attempt to connect sound art with the public space. Literature on sound art has described its origins through music, poetry, architecture and other disciplines. However, this article addresses its origin in connection with the specific area of the city. The sound installation’s pioneer, Max Neuhaus, will act as a guide towards this aim. This process allows a rereading of some of the most evocative examples of sound art and, at the same time, provides other references that will be valuable for assessing the growing interest in the creation of sound interventions in public space. The prolific career of Max Neuhaus, which covered a broad range of topics, will establish a connection between public sound art and artists and thinkers who are rarely linked to this medium. These connections will, however, offer new perspectives onto the most widely discussed topics of the discipline: temporality and spatiality. This inquiry into the roots of sound art is an attempt to make a contribution to its history, not only by way of evidence, but also through suggestions provided by works of art that are far removed from the medium of sound and by other contributions from different fields of studies.(1)

MENELUSURI JEJAK DAN KIPRAH KIAI MOHAMMAD HASAN GENGGONG; DALAM MEMBANGUN KEPEMIMPINAN SPRITUAL-TRANSFORMATIF

2018 ◽  
Vol 2 (1) ◽  
pp. 17
Author(s):  
Ahmad Fauzi ◽  
Chusnul Muali
Keyword(s):  
Social Action ◽  
Boarding School ◽  
Transformative Leadership ◽  
Social Recognition ◽  
School Students ◽  
Value System ◽  
Social Actions ◽  
The People ◽  
The Social ◽  
Islamic Science

Pesantren and social value system is the result of constructing kiai's thoughts and social actions as an inseparable entity. This study aims to interpret the role and social action of kiai Moh Hasan, both as a fighter (al-haiah al-jihaadi li'izzi al-Islaami wal muslimin) in the community as well as guidance and guidance for the community (al-haiah al ta 'awuny wa al takafuly wal al ittijaahi) and teaching in educational institutions (al-haiah al ta'lim wa al-tarbiyah), significantly contributes greatly to the social realities of society in Indonesia. Portrait of central figure kiai Moh Hasan can not be separated from the depth of his field of Islamic science, simplicity, kezuhudan, struggle, sincerity and generosity. This view, not only recognized among the people around the boarding school, students and colleagues, but also spread in some areas in Indonesia. The fame of kiai Moh Hasan among scholars, habaib and society has many karamah and some other privileges, not even a few from the social recognition of kiai Moh Hasan Genggong, because the kiai are believed to have closeness with God, thus perceived as auliya'Allah. Thus the role and social actions of the kiai above, gave birth to the value system, so as to influence and move the social action of other individuals. The internalization of the aforementioned values becomes social capital in building a spiritual-based transformative leadership, as a strong leadership model and conducts various changes in the social field, by transforming the value of the ethical values.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

Legitimation of Private Property in the Means of Production in Ukraine

2020 ◽  
Vol 53 (3) ◽  
pp. 64-87
Author(s):  
Volodymyr Reznik ◽  
Oleksandr Reznik
Keyword(s):  
Private Property ◽  
Psychological Adaptation ◽  
Social Recognition ◽  
Private Enterprises ◽  
Private Land ◽  
National Academy Of Sciences ◽  
Theoretical Approaches ◽  
Basic Hypothesis ◽  
Ideological Attitudes ◽  
Means Of Production

This article explores the sources of legitimacy of private property in the means of production in Ukraine. The conceptualization of legitimacy of private property was made by analyzing theoretical approaches to the study of the foundations of private property relations in Western countries. The application of these approaches tests economic utilitarian, psychological, and sociocultural explanations of legitimacy of large and small private enterprises and private land in the process of activation of post-communist transition of Ukrainian society. The basic hypothesis was that the process of legitimation of private property in the means of production proceeds by uniting utilitarian and psychological adaptation with sociocultural agreement of ideological attitudes. This hypothesis was verified with the help of created legitimacy indices by comparison of linear regressions and data of the Institute of Sociology of the National Academy of Sciences (NAS) of Ukraine for 2013 and 2017. The results indicate that the hypothesis has been held true only concerning legitimacy of small private enterprises. They have acquired a moderate extent of legitimacy owing to the fact that besides the factors of adaptation, social recognition has increased at the expense of people who support the multiparty system and the liberal and mixed methods of regulation of the economy. In contrast, the existence of large private enterprises and private land has not acquired the corresponding sociocultural foundation.

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