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How ‘listening’ open to alternative modes of relation?

A sensory experience requires a sense of humility and decentering of human needs and makes a difference perspective within four modes of thought which relates to sensation, intuition, feeling and thinking. In the next part of paragraph, I will explain each of them to maintain an interpretation of record Calton hill visit. Besides, our group basho approaches to two opposite categories which is human and more-than human. When we think about the definition of more-than human, for centuries, western science has promoted a human and more-than human centric framework of what counts as action, agency, movement and behavior. More-than-human refers to contexts in which multiple species and processes come together to produce a result. Rather, this article reveals the reflection from colony’s perspective to decolonization listening based on more-than human sound, how we demonstrates both concept of material and immaterial, we are coming to the place as who we are, and who we are perceived to be, in relation to others in all of its forms.

First of all, how we understand the concept of material and immaterial, the research of  fruitful material culture in Calton hill, we could see a “panoramic view” with the whole city of Edinburgh, each building in liked to the past of colony to facilitate the science and economy. Such as the observatory, the clock castle and collective gallery. To give the opposite point of view, immaterial devices is not given to license which is free and unknown.  According to the video of  ‘critical modes of listenings’, how to reflects from a perspective of colonizer to decolonization, it begin with “what is not knowable, and also what is incommensurable, it means to lack a basis of comparison, to have no common measure upon which to compare things.” Therefore, a comparison of human and more-than human categories, especially listening to the wind, grass, gravel, sea, ask for permission in a practical way record a articulation of multiple species sounds continued explores a linear written score.

(Written score)

Furthermore, an encounter is always an interaction of translation and sense making which rely on comparison, in order to understand what we are hear, remix with human-making sound and human voice. Pauline claims that listening is different with hearing, hearing “turns a certain range of vibrations into perceptible sounds.” (Pauline, 2005) though the two words are often used interchangeably, their meanings are different. Moreover, deep is doing with complexity and boundaries, the edges beyond ordinary or habitual understandings. (Pauline, 2005) The role of deep listening and thinking can better help us to understand different relationships, between people, between people and cross-species, between people and nature. To expand my point of view, I am intended to aware of diversity dimensions of sound with consciousness, how possible we could practice in deep listening practice. Also, an interpretation of four modes of thought: sensation, intuition, feeling and thinking. I like to divided them into two categories of emotion and reason relates to sensation and feeling, intuition and thinking respectively. I feel the strength of wind, the freedom of gravel, the delighted grass sound and the decolonization of sea sound. Due to a history of colony of Calton hill, when I look at the ships in the distance from Leith harbour. It reminds body collective and historical in relation to others in all of its forms, it takes place in the presence associated with the past as a result of feeling experience.

Nevertheless, I am start to think that from the past, the present and the future, the history of human beings is evolving in the process of change, and the voices beyond human beings always exist. From the perspective of colonists, how can we transform from colonial to decolonial and create a soundscape of more-than human. To approach ‘Embodiment can be a transitory, temporary, and partial experience or it can necessitate a psychophysical transformation that generates a level of cognitive understanding and bodily knowing derived form intense experience that constitutes embodied knowledge. (Turner, (Marié-Heleen,2018) ) To concern as a embodiment performance, how we get more deep to think about the relations relates to other species, despites the racial competition but to be present in a way, according to ‘critical modes of listenings’,  to ‘dislocates abstraction, it disavows any pretense that you are impartial or inconsequential’ . It takes away objectivity, and perhaps this is how we recognize what is a decolonizing listening need to do. How do we perceive things around us, in relation to us. Sonic mediation facilitate how we relate to our social, nature, surroundings, and environment, open alternative approach to cross species.

(Figure 1)

(Figure 2)

To summarize, according to figure one and two, it is possible connect with visual when we explores other sensory experience such as listen, touch, taste and smell. Both record sound, and the stamp of the material, or the tree rings, we can try different senses to practice the art of vision is still the most intuitive information into the human brain, hearing from the perspective of human and transcend human opens up the possibility for us, taste make groups together, touch can increase the interaction and the depth of feeling, Smell can promote the opening of the brain, the main function of vision can not be ignored, and listening is for us to open alternative modes of relation. The innovation of contemporary art, there still maintains less works of art that integrate multiple sensory senses. How to harmonize the diverse feelings and make the experience with aesthetic improvement from the audience still is a problem that the future generation is essential to think about, because we need to fully consider how the stimulation of each sense is transmitted to our brain and how the brain receives information. Thus, what kind of results can be produced in order to achieve a relatively balanced experience to our audience, the art practices of multi-media is challenging for the future reproductions.

 

References:

Oliveros. (2005). Deep listening : a composer’s sound practice / Pauline Oliveros. IUniverse, Inc.

Marié-Heleen Coetzee (2018) Embodied knowledge(s), embodied pedagogies
and performance, South African Theatre Journal, 31:1, 1-4, DOI: 10.1080/10137548.2018.1425527

 

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