scholarly journals Listening to/with Mar Paradoxo: a collective practice for sharing listenings

2021 ◽  
Vol 9 (2) ◽  
pp. 1-26
Author(s):  
Gustavo Germano ◽  
Alexandre Fernandez ◽  
Daniel Tápia ◽  
Henrique Lima ◽  
Lílian Campesato ◽  
...  

This paper presents an experimental methodology developed by the collective Laura: Place for Research on Aurality for approaching listening as a shared experience. As a motif for the application of this methodology, we take the work Mar Paradoxo (Raquel Stolf, 2016) as a proposition for experiencing multiple modes of listening. To contextualize our understanding of Stolf’s work, we refer to the concept of otography as a way of approaching the listening experience as something that makes and is made out of traces. By means of the production, sharing, and analysis of listening reports, we outline different modes through which our listening navigates. These modes help us understand listening as an experience that is multi-mediated and relational, singular and situated. In the end, we emphasize the presence of the other in the listening subject, resonating the thesis that the listening activity is driven by a desire of making one’s listening listened.

1980 ◽  
Vol 25 (5) ◽  
pp. 381-385
Author(s):  
Jean-Charles Crombez

The questionnaire on continuing education by the Canadian Psychiatric Association's Council on Education and Professional Liaison, sent in 1978 to all Canadian psychiatrists, raises in the author's mind, in spite of his participation in its establishment, the question of the philosophy behind it. Indeed, seeing signs of a greater problem, he identifies the need for two studies, one dealing with the “object”, the other with the “relationship”. Not elaborating on the first one (description of patients and techniques) which is well known, he describes the second as the knowledge and significance of the encounter (that of two persons inevitably and structurally linked). This “area of relations” paradoxically given too little value in the teaching of psychiatry, is more analogical than logical, more intuitive than deductive, more perceptual than intellectual, and more multifactorial than linear. Yet, this dimension of the encounter (whether individual, familial, group or co-therapy) should take place in conjunction with the objective approach, but the latter occurs alone too often. In order to give to this field of relationship a scientific status of its own, and to reintroduce the techniques instead of using them as guard-rails, proper techniques or methods should be employed or developed if necessary. This includes on the one hand the learning of different levels of awareness and the widening of our perceptual, sensorial, intuitive and analogical capacities. (This would allow for an experience of the fundamental relationship between fields that are apart symptom-wise: dream and awakening, physical and psychic, interior and exterior, fantasy and reality, representations and objects, and so on.) On the other hand this leads us to increase our capacity to listen, to abandon ourselves and to get involved, and to “conceive” a presence within the relationship. Finally, there is this learning of how to observe oneself in a situation, of how to look at what is going on within the encounter (and it is in that very position and this very questioning that the concept of neutrality can be understood, not in the legendary phlegm of impenetrability). This can be done within an “experiential” teaching: for the therapist this means the experience and the study of his own involvement, either with a patient or in groups. Another method is supervision, not as “super”-vision but rather as “inter-discovery” and not as control but rather as “ex-pression.” Working in small groups with colleagues where one can enquire about others’ experiences without any normative goal and with an open attitude is desirable. Another tool would be professional meetings, but not in their current form which is not adapted to the field of the relationship. And so on. The author sees a fundamental necessity for these two fields of the “object” and the “relationship” to be taught conjointly, and neither one nor the other to be excluded from the psychiatrist's training; which is not the case at present. The “field of the object” implies an effort at objectifying, defining variables, causes, using experimental methodology, and a more quantitative analysis. The “field of the relationship” implies positions that are often opposed to this. This contradiction seems necessary and inevitable within every person. One tendency is to make ourselves believe that we avoid this contradiction by pretending to total objectivity: that of scientific psychiatry and clear logic. Finally the author returns to the questionnaire that, precisely in its form, is too uniquely meant for an objective teaching: teaching of diagnoses, illnesses, chart controls, patient controls, teaching through questionnaires, case presentations, putting emphasis on articles or textbooks. This proposed method is adapted for teaching persons considered as entities; and learning techniques considered as reified tools. This is exactly the classical stream of university courses and specialty examinations. This reinforces the illusion. There is also the danger, via the “credit” game, that it will strengthen the already strong tendency to mere objectifying of the subject, of the therapist and of science; that it will privilege a normative vision; and discredit certain essential and humanistic dimensions.


Author(s):  
Hiroki Fukushima

In this chapter, methodologies for producing a mental representation of a cup of sake are introduced. Mental representations of taste are often vague and fuzzy in comparison to audio or visual images. On the other hand, some individuals, such as sommeliers or tasters of sake, are able to readily formulate a representation of the taste they experience. How can the average person produce words or other types of mental representations in such a situation? In this chapter, the author presents three methodologies for eliciting mental representations of taste: a new supporting tool for verbalizing an image of taste, an experimental method for testing a verbal and visual image for taste, and an experimental methodology for producing a free drawing representation of a cup of sake.


2020 ◽  
Vol 14 (2) ◽  
pp. 141-158
Author(s):  
EVELYN KREUTZER

This essay explores the relationship between ‘highbrow’ classical music traditions and ‘lowbrow’ associations with television culture in the collaborative oeuvre of Charlotte Moorman and Nam June Paik. Contextualizing them within the history of classical music broadcasting conventions on TV on the one hand, and the countercultural avantgarde on the other, I argue that Moorman and Paik’s acts of disrupting and breaking with musical, performative, and/or televisual notions of flow prevent the immersive listening experience that had marked classical music and TV discourses, and in so doing empower the listener in an anti-authoritarian, participatory appeal. This article is the winner of the 2019 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.


2010 ◽  
Vol 39 (1) ◽  
pp. 127-142 ◽  
Author(s):  
Deborah Lutz

By the time the nineteenth centuryreached its close, it was already possible to look back at Victorian death culture with nostalgia. With the rise of secularism, the slide toward what Diana Fuss has called the death of death had begun. No longer was it common practice to hold onto the remains of the dead. Rarely would a lock of hair be kept by, to be worn as jewelry, nor did one dwell on the deathbed scene, linger upon the lips of the dying to mark and revere those last words, record the minutiae of slipping away in memorials, diaries, and letters. Rooms of houses were increasingly less likely to hold remains; no one had died in the beds in which the living slept. Walter Benjamin, who wrote often about what was lost in the nineteenth century, sees the turning away from death as going hand in hand with the disappearance of the art of storytelling. Writing in the early 1930s, he called his contemporaries “dry dwellers of eternity” because “today people live in rooms that have never been touched by death” (Illuminations94). Avoiding the sight of the dying, Benjamin argues, one misses the moment when life becomes narrative, when the meaning of life is completed and illuminated in its ending. He privileges the shared moment of death, when relatives, and even the public, gather around the dying to glean final words of wisdom, to know perhaps, in the end, the whole story. Historian of death Philippe Ariès describes a Christian account of the final ordeal of the death bed, when in the moment of death the salvation or damnation of the dying is determined, thus changing or freezing, for good, the meaning of the whole life. Scholars of nineteenth- and twentieth-century death culture tend, on the whole, to agree that towards the end of the century, a process that began earlier reached a completion – that the death of the other not only became less of a shared experience among a community, but last things such as final words and remains were increasingly to be pushed to the back of consciousness and hence to the lumber room of meaning and importance.


eLife ◽  
2016 ◽  
Vol 5 ◽  
Author(s):  
Anjali Krishnan ◽  
Choong-Wan Woo ◽  
Luke J Chang ◽  
Luka Ruzic ◽  
Xiaosi Gu ◽  
...  

Understanding how humans represent others’ pain is critical for understanding pro-social behavior. ‘Shared experience’ theories propose common brain representations for somatic and vicarious pain, but other evidence suggests that specialized circuits are required to experience others’ suffering. Combining functional neuroimaging with multivariate pattern analyses, we identified dissociable patterns that predicted somatic (high versus low: 100%) and vicarious (high versus low: 100%) pain intensity in out-of-sample individuals. Critically, each pattern was at chance in predicting the other experience, demonstrating separate modifiability of both patterns. Somatotopy (upper versus lower limb: 93% accuracy for both conditions) was also distinct, located in somatosensory versus mentalizing-related circuits for somatic and vicarious pain, respectively. Two additional studies demonstrated the generalizability of the somatic pain pattern (which was originally developed on thermal pain) to mechanical and electrical pain, and also demonstrated the replicability of the somatic/vicarious dissociation. These findings suggest possible mechanisms underlying limitations in feeling others’ pain, and present new, more specific, brain targets for studying pain empathy.


2003 ◽  
Vol 17 (2) ◽  
pp. 107-122 ◽  
Author(s):  
Jeffrey D. Gramlich ◽  
James E. Wheeler

This paper explains the transactions, agreements, and accounting that Chevron, Texaco, and the Government of Indonesia used to structure transactions that avoided billions in U.S. income taxes. Although ChevronTexaco became a merged entity on October 9, 2001, for many years Chevron and Texaco operated as separate corporations, with each owning 50 percent of a group of primarily non-U.S. companies collectively known as Caltex. Transactions were structured such that Chevron and Texaco subsidiaries paid Caltex excessive prices for Indonesian crude oil, leading to excessive dividend income (with foreign tax credits) and cost of sales deductions on U.S. income tax returns. When one of the equal shareholders purchased more overpriced oil than the other, Caltex paid monthly “Special Dividends” to the “overlifter” that could be construed as cost rebates, not dividends. To compensate for the extra taxes it received, the Government of Indonesia provided Caltex with oil in excess of the amount called for under the formal production-sharing contract (PSC) with the Government of Indonesia. We estimate that this arrangement allowed Chevron and Texaco together to annually avoid paying some $220 million in federal income taxes and $11.1 million in state income taxes from 1964 to 2002. These estimates produce total federal and state taxes avoided of $8.6 billion and $433 million, respectively, for the combined company, ChevronTexaco.


Tempo ◽  
2020 ◽  
Vol 74 (292) ◽  
pp. 86-86
Author(s):  
Alex De Little

As I enter Georgia Rodgers’ Line of parts, I am struck by the instrument for which she has composed: three levitating circles of loudspeakers, one above the other, that form a cylinder of sound rising up above my head. They are housed inside a space-age enclosure, clad in complex geometric foam shapes; a circular array of chairs facing outwards sits in centre of this space, inviting an independent and reflective – rather than communal – listening experience. This space wraps you in it: a womb-like architecture of sonic potential.


2015 ◽  
Vol 206 (1) ◽  
pp. 85-86
Author(s):  
Derek K. Tracy ◽  
Dan W. Joyce ◽  
Sukhwinder S. Shergill

Social bonding and a need to belong are core human characteristics, with phylogenetically ancient roots from our distant past. We typically prefer companionship to solitude, even when there are no direct benefits from being in company. Wagner et al1 tested the effects of shared emotional experiences between friends: pairs – one having a neuroimaging scan while the other was separated in a waiting area – were both shown emotionally negative, positive and neutral images, and were told if their companion was simultaneously seeing the same picture or not. Both subjective reports of their emotional response and activation of their brain reward circuitry were greater during shared emotional trials, whether negative or positive, even in the absence of any communication or interaction. Shared experience appears to amplify our emotional responses.


Nordlyd ◽  
10.7557/12.47 ◽  
2004 ◽  
Vol 31 (3) ◽  
Author(s):  
Thora Tenbrink

This paper is a contribution to the debate on children‚s perspective taking skills, addressing the question which kinds of adaptation are related to different functions of children‚s utterances in their everyday life. A longitudinal home-based study of the contents of a child‚s speech focuses on the child‚s growing ability to present new information to his interaction partner. The functions of the child‚s talk are analysed using Halliday‚s (1975, 1994) framework. The results show that the earliest functions of the child‚s talk are predominantly representational, expressing reflections on (shared) experience that do not necessitate perspective taking. Later on, interpersonal functions emerge, involving emotional sharing with the interlocutor, but not necessarily any understanding of the listener‚s mind. Finally, starting with explanations and elaborations of situations observable by both interlocutors, the child becomes increasingly able to convey information which is new to the listener. Talk which serves the predominant function of conveying information is most effective when the child takes into account the listener‚s informational status. In contrast, the interlocutors‚ knowledge and beliefs are irrelevant for the other speech functions developed earlier. Thus, at an earlier age children do not need to take into account others‚ conceptual perspectives in talking, which may be one reason why they do not exhibit sophisticated perspective taking skills, a fact well-established in the literature. The option of dealing with, and affecting, their interaction partners‚ informational status simply does not exist before children have learned how to use language as a substitution for experience, i.e., to present experiential meaning to others who have no access to the experience itself.


2020 ◽  
Vol 111 (1) ◽  
pp. 173-191
Author(s):  
Noah D. Guynn

Abstract This essay deploys Bruno Latour’s An Inquiry into the Modes of Existence and Bert States’s Great Reckonings in Little Rooms to analyze the pyrotechnics used in mystery plays to symbolize supernatural truths. On the one hand, these effects cultivated aesthetic immersion, allowing audiences to perceive stage illusions as real. On the other hand, they drew attention to their own artfulness, inviting spectators to marvel at human achievement and contemplate the possibility of misfire. This paradox encapsulates the theological ambiguities of medieval religious theater, which asked spectators to suspend disbelief in the name of conversion even as they maintained skepticism about sacred simulacra. Latour’s metaphysics allows us to see how mystery plays deployed multiple modes of existence, each of which mediated the others but could not reduce or explain them. States’s theater phenomenology shows us how mystery plays used self-given realities like flame to shuttle between human and nonhuman standpoints. If Latour rejects phenomenology for its refusal to consider the agency of the nonhuman, States’s focus on reality as resistance offers an implicit retort. I propose a rapprochement by showing that theater phenomenologists and medieval effects masters are both willing to embrace the ontological work of nonhuman actants.


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