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Aural Assembly: Artistic Statement

Aural Assembly: Echoing Life-Worlds

Interdisciplinary research requires not only the transgression of different fields of study, but can be viewed as the very questioning of the relation of subject and object, self and other, of concept and affect, in the active pursuit of knowledge and understanding.

Pairing the exploration of ephemerality as a way to engage and expand the relationship of interdisciplinarity, with soundscapes in a non-narrative and non-linear style, a podcast can become not only the discussion of a subject by means of words and discourse, but an (albeit short) engagement with relationality and aurality as epistemology itself. Recording soundscapes of our direct environment, pairing these with elements of found sounds, recordings of media or occasional poetics creates the fruitful tension of inference and interferences: at once an argument or idea is carried forward (to infer) in the modes of listening and sense-making as logocentric animals trying to gauge and utilize, to understand and categorize sound; while the idiosyncrasies of sound, its incidental and fleeting nature in the cycles of occurrence, reoccurrence and rhythmic breakages create interferences and epistemic-noise. Aurality that disregards “sense” for the current timespace of listening, unique and again living only in relation of subject and object, turning ephemeral, dissipating once the experiences cease to occur but binding in a transformative mode of kairos.

In creating different “Assignments” the group explored the ability of sound-making and recording as a means to engage with each other's life-worlds. That is, the active and sounding environment of one's own individual hearing and listening (passive/active), shimmering between specificity and everyday similarities. The group’s makeup creates a unique line of interferences/ inferences: taking up the theme of research and life during the CoViD 19 pandemic; listening through different levels of lockdown and protests across the political spectrum; hearing three different countries and through four different sonic approaches; listening to each other and understanding each other stretch over space, positionality and academic backgrounds. This might sound like interference as in a simple game of broken telephone, trying to echo and reiterate common themes and auditory cues, but it also builds a different relation to a shared life-world and mutual aural existence. For instance, we went from childhood memories to experiences of colorism, mothering and loss to political outrage within the span of two creation cycles.

Our aim is not only to create an intimacy within our group and our individual works, but to explore sub themes within the overarching focus on soundscapes during the pandemic, and in so doing resonate with the listeners of the podcast. Taking up these different relationalities, sounds (and soundscapes) as non-verbal communications of lived timespace can bridge the divides between us as powerful actors, creating a living narrative for listeners to follow. The self will always be inscribed in the recordings, incidents and editing might flow apart or together in the listening experiences of the audience, with their own relation being born in the process of encountering the piece at hand. In these movements the idea of static messages becomes alleviated and transformative: the affective nature of sound, the shaping of pure energy paired with the ability to communicate distilled emotion and situatedness via sounds, creates an active knowing for us and the listeners in turn. In creating a cohesive fifteen-minute experience while also enlarging this with our research work in the form of a Tumblr, padlet and soundcloud sites, references and textual resources become available while giving the listeners the agency to deepen and completely transform their own trajectory – giving the possibility to create their personal “podcast” of sorts.

Post-scriptum: in entering the editing process for this 15 min montage, we came upon more than one ethical crisis. What had first been delineated as spaces, started to feel like rifts, then chasms. Questions of collectivity came through in questioning leadership, representativity, agency and choice. What does it mean for us to highlight violence? When does editing out become harsh, brutal even? Are we sublimating dissonance when advocating for unity? What does letting go mean for in fact wanting to hold on, tighter? We spoke louder across these distances, as if asking the same question over again: can you hear me. For some of us this has begun to feel like so much more than a project. It is about life under COVID. It is assembly, and it is dispersal.

What you are listening to is ultimately one take among many.

Subtheme Jayanthan Sriram: Breathing in Times of CoViD

As an academic working on olfaction and the epistemic value of smells, working with sound encompasses the making and disintegration of these relations via ephemerality. Following a modal anthropology as proposed by Francois Laplantine, while olfaction and smelling things break the relation in a mode of internalization, the inextricability of sounding-self and sounding-other(ness), sound and listening perpetuate similar delimitations of hearing and sounding, being in sound, sound itself and dealing with the eventfulness of something that is mostly regarded as the antithesis to knowledge formations of visuality and written language.

The exploration of olfaction via sound becomes an issue of translatability. A common denominator of sound and smell, however, is the air we breathe. The simplicity of an autonomous action, one that builds the very essence of bodily existence, becomes messy and contested during the pandemic and beyond. As protests for Black Lives repeat the dying words of those lives taken by executive force, “I Can't Breathe” turns to the disillusioned notion of those that feel their freedom pressured and their sovereignty questioned by lockdown regulations. Air and the common air we breathe becomes a contested field: The medium of an airborne virus and therefore the probable health hazard, the lived necessity taken by racist actions and the perceived source of defiance against the confines of state regulation and obscure power interested in leaning into conspiracies against white and western supremacy. Can a recording of this struggle for breath make sense of the times, or serve as the mere invitation for understanding the divides that have taken a different turn during a pandemic? Can a moment like the one we are living, that attacks the very nature of relating to one another, bring insight into connections of communities and society that have been under attack all along?

List of audio used:

Spoken excerpt: Wilkerson, Isabel (2020), Caste - The Lies That Divide Us. London: Penguin Books. p. 18.

Excerpts of Anti-COVID Regulation Demos: https://www.youtube.com/watch?v=yr1YyrolRZY (Courtesy of Spiegel TV) and https://www.youtube.com/watch?v=Zf7fRGI_7eo (Courtesy of BILD)

Recordings of Guitar and Voice by Jayanthan Sriram

Excerpt from The Simpsons “Boy-Scoutz´n the Hood” (1993) and “Lisa´s Rival” (1994). Courtesy of FOX.

Excerpt of “Lil Diamond Boy” by Lil Yachty from Lil Boat 3.5 (2020). Courtesy of Capital / Quality Control.

Excerpt of “Many Jewels Surround the Crown” by Prurient from Bermuda Drain (2011). Courtesy of Hydra Head Records.

Excerpt of “Sleeping In” by Jesu from Terminus (2020). Courtesy of Avalanche Records.

Excerpt of “Between The World and Me” (2020), directed by Kamilah Forbes. Courtesy of Warner Media / HBO

Subtheme Amanda Gutierrez: Walking as a collective in Times of CoViD

Voice over:

Judith Butler's text, Gender Politics and the Right to Appear (2015), informed my work about the meaning of collective walking in the public space as a political alliance. In her book, Notes Toward a Performative Theory of Assembly, she exposes the concept of "we" as a collective body that spatially voices the challenges of exclusion that have been experienced under conditions of oppression. For Butler, the performative action of taking public space as an act of resistance and solidarity reads as follows:

Each "I" brings the "we" along as he or she enters or exits that door, finding oneself in an unprotected enclosure or exposed out there on the street. We might say that there is a group, if not an alliance, walking there, too, whether or not they are anywhere to be seen. It is, of course, a singular person who walks there, who takes the risk of walking there, but it is also the social category that traverses that particular gait and walk, that singular movement in the world; and if there is an attack, it targets the individual and the social category at once. (2015, p. 51-52)

Thus, the idea of "walking with with" is a crucial tool for collective recognition and a performative act of enunciation, an act of speech that we can exercise in space. As a filmmaker, the virtual space could be an extension of the public space, an intersection that I am trying to find in these soundscapes.

However, how can we do it from the interior of our houses? Keeping us safe from being infected by a virus?

I did this performative exercise, please join me interacting with the sound:

Experiment on aural performance, can be heard in the minute 12:17 on the soundtrack.

Subtheme Koby Rogers Hall: Life and Death in Reproductive Labour

In the seminal book Mapping Vulnerability: Disasters, Development and People, the authors argue for an interpretation of disaster as a complex process that is socially, politically, environmentally and economically constructed, as opposed to an event caused by an external agent (Bankoff, Frerks & Hilhorst, 2013). Correspondingly, the concept of “structural vulnerability” is used within the social sciences as a method to analyze the varying capacities of communities to deal with hazards, based on their social positionality; vulnerabilities result from an individual’s position within local hierarchies and broader power relationships. This approach to vulnerability differs greatly from others that seek to naturalize an individual’s ability to cope as a result of internal causes.

(Henaway, 2020)

MY WORKING WILL BE THE WORK.

- Mierle Laderman Ukeles, Manifesto for Maintenance Art

The soundscapes work of the past four months has been an experiment in sounding, listening, and wondering, of being heard in a time of being unseen. As Dwayne Donald (2012) unravels in his work on a decolonizing research sensibility, our stories are held in tension as they display relationality and difference around difficult concerns. “The line which a story follows is not straight, logical, step by step. It varies from life to life. Most often, it zigzags, as if seeking out the spot for a breakthrough” (Novak, 1978, p.53).

In this year since my first child’s birth, a year of pandemic, of public outcry, of climate crisis on an ever-consuming scale, the violence of inequities for those of us who recognise them well have been forced to the forefront of our being. They say this economic crisis is ‘different’, in that it will set mothers back a generation between care work and the loss of any employment gains (Cohen, 2020; Adams-Prassl, 2020). As I do another load of diapers in what is essentially a broken laundry machine – having been asked to bear far beyond its load capacity - I am reminded of how my dreams of late feel so disjointed, and that disruption feels so familiar. “Everything I say is art is art. Everything I do is Art is Art.” (Ukeles, 1969, p.2).

The rage in the quietude is palpable. And so in sounding with my colleagues across locations, in conversing across ‘tasks’ we have given each other, I see the juxtaposition of our daily reproductive lives and labour. There are gaps between two sounds, two spaces, and we are left to negotiate in relation to this empty space. We are asked to “hold these understandings in tension without the need to resolve, assimilate, or incorporate” (Donald, 20102, p.534). The distances I feel from the people I organise with are felt stronger and stronger every day – mothering and organising, worker and consumer, the privilege of working and so feeling remotely. These distinct fields are not only removed from one another, but they further vulnerabilise us, structurally, by making the vast expanses already between us viscerally clear. When Judith Butler asks if precarity can be a unifying force, what do we risk losing in this assumption of unity? What are these soundscapes ‘trying to do’, if not be seen, then heard? Are we, am I, in fact grievable? (Butler, 2015, p.47).

A distanced visit with a friend and organiser tells me of ‘essential workers’, immigrant and migrant workers, demonstrating daily during the pandemic because they have to. In their words, “I have to be here, otherwise people will let me die.” (Henaway, in conversation, June 2020). Linda Tuhiwai Smith asserts that we need to think of research methodology as resistance, “a thoughtful engagement with these contradictions by providing a way to plan, conceptualize, strategize, and make cogent various forms of resistance to the logic of colonialism.” (1999, p.38) For those of us who are made to feel expendable, the ones who show up when the shit hits the fan, we know who we are – this is a moment of dignity and overflowing rage. With death comes endings, and as the contours of this world face their own forms of decay, there are those of us at the edges who find comfort in this, knowing that we breathe life anew.

Sub-theme Raphaëlle Bessette-Viens: feeling around

“What does your life sound like?” I asked you. “It sounds a bit like this, here, listen …” And when we listened to each other I felt my boredom, anxiousness and loneliness was shared. Some of us thought it was an ideal period to work, others felt too dispersed to concentrate properly. Micro social spheres; partners, children. A few times we shared being surrounded by collective appearing bodies; some skeptical or paranoid when they disbelieved the existence of the virus, some out of collective outrage when black bodies continued being assaulted by police officers.

Fear. Around me concern for sustaining life amidst an overwhelmed medical system co-exists with the perpetuation of fear of the ‘stranger’ (Ahmed, 2014): police violence, the criminilization of anti-islamophobic organisations, the expulsion and chasing of undocumented persons into invisibility. Being inside, feeling non-apparent. The aggregation of bodies that collect together in order to state their existence (Butler, 2015), to which I belong to, is in intermission. Spilling over. There was a protest and I saw all those familiar faces I hadn't seen in a while and walked and screamed and sang with them. Anger and happiness overlapped.

Affective contagion (Stewart, 2007, p.16). When I heard you say you were feeling anxious, and that you were having a hard time with distanced communication, it made me feel it was okay to say it too. I edited-in my piece that I gave back to you, to signify it. Did you hear it? Echoing. “... hmm that reminds me of”; the surfacing of a thought or a memory. Hearing your child made me think of me as a child and then I learned about your childhood. I heard the sounds of our bodies in our confined spaces, in relation with others in this space, in relation with the exterior world by mediation, being called-in to your world with your voices. Our echoes felt like intimate refrains: “(…) repetition that underscores, overscores, rescores in a social aesthetics (…)” (Stewart, 2010, p.339). We worked together, as Guattari suggests, with ways closer to the ethico-aesthetic than of scientificism (1995). Aggregating, week after week, our soundscapes and our thoughts, we practiced our attunement to one another, to our collective. “What does your life sound like right now?”

List of references

Adams-Prassl, A., Boneva, T., Golin, M., Rauh, C. (2020). Inequality in the Impact of the Coronavirus Shock: Evidence from Real Time Surveys. Cambridge-INET Working Paper Series, (18)

Ahmed, S. (2014). The Cultural Politics of Emotion (2nd ed.). Edinburgh: Edinburgh University Press.

Bankoff, G., Frerks, G., Hilhorst, D. (Eds.). (2013). Mapping Vulnerability: Disasters, Development and People. New York: Routledge.

Bertelsen, L., Murphie, A. (2010). An ethics of everyday infinities and powers: Felix Guattari on affect and the refrain. In Gregg, M., J. Seigworth, G. (Eds.). The affect theory reader (1st ed. pp. 138-157). London and Durham: Duke University Press.

Butler, J. (2015). Gender politics and the right to appear. In Notes Toward a Performative Theory of Assembly (pp. 24–65). Cambridge, MA: Harvard University Press.

Cohen, P. (2020, Nov. 19). Recession with a Difference: Women Face Special Burden. New York Times. Retrieved from https://www.nytimes.com/2020/11/17/business/economy/women-jobs-economy-recession.html

Donald, D. (2012). Indigenous Métissage: a decolonizing research sensibility. International Journal of Qualitative Studies in Education, 25(5), 533-555.

Guattari, F. (1995). Chaosmosis: An Ethico-Aesthetic Paradigm (Bains, P., Pefanis, J., Trans.) Sydney: Power. (Original work published 1992)

Jenkins, H., Ford, S., Green, J. (2013). Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: NYU City Press.

Henaway, M. (2020). The Borders that Define our Vulnerability. Terms, semi-annual program. Leonard & Bina Ellen Art Gallery, Concordia University. http://ellengallery.concordia.ca/programming/online/terms/?lang=en

Howes, D. (2003). Sensual relations. Engaging the senses in culture and social theory. Ann Arbor: University of Michigan Press.

Howes, D. (ed.) (2005). Empire of the senses. The sensual culture reader. Oxford & New York: Berg.

Laplantine, F. (2015). The life of the senses, Introduction to a modal anthropology (Furniss. J. Trans.). London: Bloomsbury. (Original work published 2005)

Novak, M. (1978). Ascent of the mountain, flight of the dove: An invitation to religious studies. New York: Harper & Row.

Reynolds, S. (2011). Retromania. Pop culture's addiction to its own past. London: Faber and Faber Ltd.

Smith, L.T. (1999). Decolonizing methodologies: Research and Indigenous peoples. Dunedin, New Zealand: University of Otago Press.

Stewart, K. (2007). Ordinary affects. London and Durham: Duke University Press.

Stewart, K. (2010). Afterword, Worlding refrains. In Gregg, M., J. Seigworth, G. (Eds.). The affect theory reader (1st ed. pp. 339-353). London and Durham: Duke University Press.

Ukeles, M.L. (1969). Manifesto for maintenance art, 1969! Proposal for an exhibition: “care”, 1969.

Voegelin, S. (2010). Listening to sound and silence. Towards a philosophy of sound art. London, New York: Continuum.

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