Description
Book SynopsisCan sound be perceived independently of its social dimension? Or is it always embedded in a discursive network? POSTCOLONIAL REPERCUSSIONS explores these questions in form of a collective conversation. The contributors have collected sound stories and sound knowledge from Brazil to Morocco, listened to resonances from the Underground and the Pacific Ocean, from Popular Music and speech recognition. The anthology gathers heterogeneous approaches to emancipatory forms of ontological listening as well as pleas for critical fabulation and a practice of care. It tells us about opportunities, perspectives and the (im)possibility of decolonised listening.
Table of ContentsInstead of an Editorial; A Conversation on Race, Sound, and the Im/possibility of Decolonised Listening; Playing it Back. Critical Reflections on Curating Sound; "offensichtlich unbegründet": a work in progress meditation on sonic biometry, migration and the archive; From a Postmodernist Sound to a Decolonized Dancefloor. From Glitch to Deconstructed Club Music; Meandering Feuilleton Essay about two concerts that I did not see. Or: About how I read Hall, Mignolo and Walsh instead because I want to write an article for an anthology on Decolonizing Arts and think about whether it is possible to decolonialize Popular Music; (Post) Colonial Streaming: The Social Reproduction of Listening and Deafness in the Anthropocene; Buried in the Colonial Graveyard? Indigenous Sound Ontologies, Repatriation and the Ethics of Curating Ethnographic Sounds; Tangier 1999. In search of authenticity. Paul Bowles longs for something and insists on its existence; Passageways of Knowing. Music, Movement, Reconnection; Authors; List of Illustrations.
