scholarly journals New Noises New Voices

2020 ◽  
Vol 20 (1) ◽  
pp. 401-432
Author(s):  
Martina Raponi
Keyword(s):  
Contemporary Art ◽  
Entry Point ◽  
Political Environment ◽  
Linguistic Minority ◽  
Entire Spectrum ◽  
Deaf Adults ◽  
The Voice ◽  
Historical References

As an artist interested in Noise, and a CODA (child of deaf adults), I will tackle the issue of noise and counterculture from the entry point of deafness and un-cultured voices. In ableist societies the voice is a cultural product, and certain voices, perceived as “other”, flawed, “noisy”, can open up discourses related to shared sonic spaces, disruption, and inclusivity. Soundscape is here described as a social and political environment, and the bodies immersed in it are considered according to the entire spectrum of their capacities, beyond listening, in rhythmanalytical terms. Soundscape, understood within the thresholds of audibility, expels and rejects communities which carry the stigma of “handicap”, such as Deaf communities. This theoretical exercise is accompanied by examples from contemporary art and technological-historical references, pointing at “acts of silencing” and “acts of noising”, while underlining the value of “deviant” bodies as resistant bodies. The paper ends with the testimony of a Deaf dancer who used my writings to produce her last two shows. I will refer to the audiological deaf using the lowercase, and capitalize the linguistic minority: Deaf. Despite being considered disabled, or deviant, Deaf bodies are the last example of countercultural agents in all-speaking and all-hearing ableist societies.

scholarly journals Lullaby: Births, Deaths and Narratives of Hope

Religions ◽  
2020 ◽  
Vol 11 (3) ◽  
pp. 138
Author(s):  
Rebekah Pryor
Keyword(s):  
Contemporary Art ◽  
Hannah Arendt ◽  
Luce Irigaray ◽  
The Voice

Guided by the hopeful possibilities of birth, breath and beginning that Hannah Arendt and Luce Irigaray variously articulate, this paper examines the lullaby as an expressive form that emerges (in a variety of contexts as distinct as medieval Christendom and contemporary art) as narrative between natality and mortality. With narrative understood as praxis according to Arendt’s schema, and articulated in what Irigaray might designate as an interval between two different sexuate subjects, the lullaby (and the voice that sings it) is found to be a telling of what it is to be human, and a hopeful reminder of our capacity both for self-affection and -preservation, and for meeting and nurturing others in their difference.

Sibylline Oracles

2016 ◽  
Author(s):  
Erich S. Gruen
Keyword(s):  
Natural Disasters ◽  
Literary Form ◽  
Mediterranean World ◽  
Sibylline Oracles ◽  
Written Form ◽  
Long Life ◽  
The Mediterranean ◽  
The Voice ◽  
Historical References

The Sibylline Oracles had a long life. The Sibyl was in origin a single Greek prophetess, renowned for the accuracy of her forecasts, divinely inspired, but portrayed as mad or raving, and regularly spewing forth dire forebodings. Additional Sibyls gradually sprang up in a variety of locations in the Mediterranean world, including the renowned Cumaean Sibyl whom Aeneas reputedly consulted. Sibylline prophecies were eventually collected in written form in Rome and used by Roman authorities to provide interpretation of unusual prodigies or natural disasters or to offer advice on significant matters of foreign entanglements and wars. Although that collection (insofar as it is historical) has long since disappeared, the voice of the Sibyl was reproduced in literary form. The extant Sibylline verses, composed in Homeric Greek hexameters, constitute twelve books of oracles, fashioned over a period of several centuries by numerous different and no longer identifiable hands. They constitute a motley assemblage of grim forecasts, historical references, apocalyptic visions, and denunciations of various peoples, especially Romans, for their abandonment of piety and indulgence in evil. The genre was appropriated by anonymous Jewish authors, speaking through the voice of the Sibyl, and employed to convey condemnation of cities and nations for the sins of idolatry, licentiousness, and a range of vices. Vivid portrayals of the end time and eschatological conflagration feature many of the texts. Subsequent Christian writers interpolated verses, added exaltations of Christ, and appropriated Sibylline pronouncements for their own ends. Others manipulated the oracles to record historical personages and events in the framework of prophetic pronouncements. The result was a complex and unsystematic compilation of reconstructed or fabricated prophecies ascribed to Sibyls but largely representing the ingenuity of Jewish and Christian compilers.

Deafening silence: the Educational Experiences of Gifted Deaf People

1998 ◽  
Vol 13 (1) ◽  
pp. 13-22
Author(s):  
Wilma Vialle ◽  
John Paterson
Keyword(s):  
Educational Intervention ◽  
Educational Experiences ◽  
Minority Group ◽  
Culturally Sensitive ◽  
Educational Programs ◽  
Deaf People ◽  
Linguistic Minority ◽  
Preliminary Attempt ◽  
Education Service ◽  
Deaf Adults

Educational intervention for deaf people has a long history but it is a history that is dominated by the notion of deficit. The growing trend in the literature on deaf people is to recognise that they are not deficient but form a cultural and linguistic minority group that deserves appropriate educational programs. Deaf people report great frustration with their experiences of schooling as they have invariably been treated as intellectually inferior. Yet, a significant number of deaf people are gifted and have had the double hurdle of overcoming their deafness in a hearing world and an education service that does not meet their needs. This paper explores the educational experiences of gifted deaf people in a preliminary attempt to develop appropriate identification measures and educational provisions for such individuals. The conclusions presented are based on extensive interviews with a number of gifted deaf adults. Deaf interviewers were utilised to collect the required data in a more culturally sensitive and relevant manner.

DARON HAGEN (b. 1961)Muldoon Songs (1989 and 1992)

2020 ◽  
pp. 111-114
Author(s):  
Jane Manning
Keyword(s):  
Contemporary Art ◽  
Art Song ◽  
The Third ◽  
Wide Range ◽  
The Voice

This chapter explores the Muldoon Songs by Daron Hagen. This succinct, appealing cycle comes from a generous, attractively presented volume, replete with notes by both the composer and Paul Sperry, who has done so much for contemporary art song. This cycle consists of seven contrasting songs; the third and fourth mere fragments. The sixth was added last, at the request of Paul Sperry, who commissioned the piece. Much of the intriguingly acerbic text is set straightforwardly. Through this cycle, Hagen shows a masterly grasp of the voice–piano idiom, along with a love of words, and a refined instinct for setting them. His writing seems unfettered and entirely natural, encompassing an exceptionally wide range of styles with unerring craftsmanship and sometimes deceptive simplicity. Indeed, as this chapter shows, the music breathes freely, maintaining elasticity and rhythmic verve.

scholarly journals Assessing Local Cultural Heritage through a Walking Trail: The Case Study of the Theodoros Papagiannis’ Museum of Contemporary Art

2016 ◽  
Vol 3 (2) ◽  
pp. 9
Author(s):  
Christos Merantzas
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Entry Point ◽  
The Other ◽  
Cultural Value ◽  
The Creation ◽  
Museum Of Contemporary Art ◽  
The One ◽  
Cultural Components

<p>The paper focuses on the cultural components of a walking trail axed upon the ‘Theodoros Papagiannis’ collection of sculpture. The latter is hosted in the Museum of Contemporary Art of Helliniko, a village tucked within the Municipality of Northern Tzoumerka, Epirus, Greece. While the artist’s sculptures are also found in the Museum’s courtyard are they also admired along a walking trail that begins at the village’s entry point and ends at the Post-Byzantine Monastery of Tsouka. The research is carried out from the perspective of a walking trail’s cultural value. Our trail of interest joins two locations, the one being secular and the other sacred, thus defining an itinerary which unfolds along these two different attraction sites. As a result, the walker/traveler moves from one established location to the other, all the while objectifying the two and defining space under his/her own terms. He/She makes connections between both sites in order to restore the unity of space and thus becomes a travelling witness to the creation of a single narrative. He/She enjoys the privilege of the travelled route, as well as all that exists along this route.</p>

scholarly journals Gogi Saroj Pal: Questioning Patriarchy, Engendering Force through Paintings

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Keyword(s):  
Contemporary Art ◽  
Indian Society ◽  
Urban Context ◽  
Indian Culture ◽  
Deep Impact ◽  
Cultural Aspects ◽  
Radical Feminist ◽  
The Everyday ◽  
Everyday Problems ◽  
The Voice

Painting has always been a reflection of society, culture, values and surroundings of the individuals. The place and people around leaves a deep impact on the artists because they usually depict their belongingness and experiences through their creation. In Indian contemporary art, various artists like Amrita Sher-Gill, M.F. Husain, F.N. Souza and many more have adopted the glimpse of their city to articulate their expressions. Gogi Saroj Pal, a contemporary Indian artist has adopted the spirit of Indian culture, where she is inculcating the mythical fables with the advancement of feministic ideology. The aim of this paper is to discuss the significance of India and its socio-cultural aspects in the paintings of Gogi Saroj Pal. Gogi Saroj Pal is considered to be the first among the radical feminist artists of India who has painted various series on woman including Hat-yogini (female practitioner of Yoga), Kamdhenu (wish-fulfilling cow), Kinnari (half-bird & half woman), Dancing Horse, Sawaymvaram (an ancient practice for choosing groom by bride) and Alter for Nirbhaya (related with the brutal rape case in Delhi). In most of her paintings, powerful female nudes have been portrayed to criticize the previous forms of woman, which were particularly related with beauty and sensuousness. Apart from feministic advancement, her artwork series are particularly based on the indigenous portrayal of her surroundings- that is Indian urban context where innumerable incidents of female oppression take place recurrently. Gogi Saroj Pal usually takes the everyday problems of woman in modern Indian society and represents it with an infusion of mythological references through her paintings in an attempt to raise the voice of protest for the oppressed womanhood to the world. Keywords: Gender Politics, Patriarchal Hegemonies, Resistance of Power, Mythology and Art, Symbolism, Portrayal of Woman

On Jesse Darling

2020 ◽  
Vol 19 (2) ◽  
pp. 272-276
Author(s):  
Heather Holmes
Keyword(s):  
Lived Experience ◽  
Contemporary Art ◽  
Cultural Production ◽  
Human Experience ◽  
Gender Nonconformity ◽  
The Body ◽  
Entry Point ◽  
Trans Studies

Jesse Darling, a contemporary Berlin-based artist, produces sculptures, paintings, and drawings that animate material to depict a lived experience of queerness and disability. This article highlights a recent exhibition of Darling’s as an entry point to their wide-ranging practice. Refracted through the lens of Sara Ahmed’s concept of feminist ‘willfulness’, Darling’s objects depict the body as unruly, unpredictable, and given to change, making them exciting candidates for both disability and trans studies. At a moment in contemporary art and cultural production more broadly when gender-nonconformity is signaled through an attempt to erase bodily markers of specificity, Darling insists on such specificity as the inescapability of the human experience.

scholarly journals The anatomy of voice: Two views on the exhibition post-opera ('Tent' Gallery and 'V2_Lab for the Unstable Media', Rotterdam, April 19 - June 30 and May 3-26 2019)

New Sound ◽  
2020 ◽  
pp. 179-199
Author(s):  
Ivana Ilić ◽  
Iva Nenić
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Human Body ◽  
The Third ◽  
Art Object ◽  
Theoretical Perspectives ◽  
Art And Culture ◽  
Speaking Voice ◽  
The Voice

In this paper we discuss the exhibition Post-Opera, a complex and provocative curatorial project by Kris Dittel and Jelena Novak, in which the changeable relations between the voice and the (human) body are investigated from the creative and the theoretical perspectives, relying on juxtaposing and reflection between visual arts, technology and opera. Firstly, in the paper we examine the curatorial procedure, in its shift from the mediatory function between the work and the audience towards the practice, which intervenes in both of these domains and results in an exhibition as an autonomous art object. In the second part we interpret the politics and the effectiveness of the singing and the speaking voice in contemporary art and culture, while in the third part we write about the resemantization of the relation between the singing body and the sung voice within 'installing the operatic'.

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