“…First, we reviewed studies on organized public engagement; in so doing, we did not include studies on how publics use art to engage with technology themselves (e.g. Novak, 2017; Wilbanks, 2017). Those studies could shed more light on how art can contribute to the democratization of technology.…”
Art is increasingly used to engage publics on emerging and controversial technologies, but we still know little about what works in art-based engagement and why. To investigate what art can do for public engagement, we systematically reviewed academic work published from 2000 to 2018 about the effect of art on organized public engagement. We used the dimensions of Responsible Research and Innovation as an analytical framework to identify what outcomes are achieved and what processes contribute to those outcomes. The 30 included studies showed that art mainly supported engagement by (1) reaching wider audiences, (2) fueling individual reflection, and (3) making visible how technologies come into being and interact with the world. With due consideration of the risks of instrumentalization, future research should empirically and reflexively investigate the outcomes and methodologies of art-based engagement, especially concerning collective reflection and change.
“…First, we reviewed studies on organized public engagement; in so doing, we did not include studies on how publics use art to engage with technology themselves (e.g. Novak, 2017; Wilbanks, 2017). Those studies could shed more light on how art can contribute to the democratization of technology.…”
Art is increasingly used to engage publics on emerging and controversial technologies, but we still know little about what works in art-based engagement and why. To investigate what art can do for public engagement, we systematically reviewed academic work published from 2000 to 2018 about the effect of art on organized public engagement. We used the dimensions of Responsible Research and Innovation as an analytical framework to identify what outcomes are achieved and what processes contribute to those outcomes. The 30 included studies showed that art mainly supported engagement by (1) reaching wider audiences, (2) fueling individual reflection, and (3) making visible how technologies come into being and interact with the world. With due consideration of the risks of instrumentalization, future research should empirically and reflexively investigate the outcomes and methodologies of art-based engagement, especially concerning collective reflection and change.
“…Relatedly, in Sound‐Politics in São Paulo , Leo Cardoso (2019) examines the structures through which sounds and sonic events in urban space are differentially interpreted as noise upon entering debates concerning crime, public policy, and segregation. David Novak (2017) and Marié Abe (2016) extend these concerns to social activism with a focus on the political role and interpretive power of sound in antinuclear protests and festivals in Japan. They explore how the sonics of grassroots action and performance generate an intertextual field of political discourse in post‐3.11 Japan that “frames political participation as a networked improvisation that extends across multiple spaces of social identification” rather than a ready‐made singular voice (Novak, 2017, 249).…”
Section: Track Five: Sound City (Of Neighborhoods)mentioning
confidence: 99%
“…David Novak (2017) and Marié Abe (2016) extend these concerns to social activism with a focus on the political role and interpretive power of sound in antinuclear protests and festivals in Japan. They explore how the sonics of grassroots action and performance generate an intertextual field of political discourse in post‐3.11 Japan that “frames political participation as a networked improvisation that extends across multiple spaces of social identification” rather than a ready‐made singular voice (Novak, 2017, 249). Similarly, social processes shaping Latinx identity within the US racial formation are continuously refigured and reproduced, and they too are transformed in everyday contexts such that “Latinx” ought not be understood as a ready‐defined singular category but rather as constituted by sets of cultural practices in use, in space, and in process.…”
Section: Track Five: Sound City (Of Neighborhoods)mentioning
In music production, a sonic artifact refers to sonic material that is accidental or unwanted, typically the result of the manipulation of sound. This understanding connotes both physical and figurative meanings: artifact as material alteration and as subjectively defined auditory disturbance. Both meanings attune the act of listening to noise—the perception of which relies on normative conceptions of rationality. This article takes up the sonic artifact as an aesthetic figure to listen to Latinx Chicago with attention to vinyl records (or discos) as literal material artifacts and asks: how do discos broadcast—in embodied and symbolic ways—the racialized politics of urban territory, and in turn amplify forms of spatial entitlement? Chicago's racial geography relies on the social reproduction of valuable forms of inequality that render Latinx communities displaceable, or unheard. What place‐making strategies emerge given such profound and intersecting dispossessions, and how are they amplified within the aural public sphere? El disco es cultura provides one answer. As curatorial practice, it embodies a phonoaesthetic assemblage of transcultural and transhemispheric sounds and connections that avails sonic artifacts as layered auditory experiences forged within the politics of displacement, pointing us toward the materiality of Latinx place‐making aesthetics and auditory fields of social recognition.
“…Attending the "Project Fukushima!" festival in post-311 Japan, David Novak (2017) finds that the collectivity of the performative assembly arose through music and discourse that was purposely more ambivalent than a typical protest. Novak cites Judith Butler's book Notes toward a Performative Theory of Assembly in a way that speaks to several of the articles in this special issue:…”
mentioning
confidence: 99%
“…Despite the communicative expediency of slogans like “Black Lives Matter,” “This is what democracy looks like,” or “Stop the Steal,” the potential of assembly to bring about a shared purpose and sense of belonging exceeds language. Attending the “Project Fukushima!” festival in post‐311 Japan, David Novak (2017) finds that the collectivity of the performative assembly arose through music and discourse that was purposely more ambivalent than a typical protest. Novak cites Judith Butler's book Notes toward a Performative Theory of Assembly in a way that speaks to several of the articles in this special issue: we have to ask whether it is right that verbalization remains the norm for thinking about expressive political action.…”
This special issue began with a casual meeting at a conference in 2018 and has continued through conversations about sound, politics, public assembly, and urban space with our collaborators in anthropology, music studies, and sound studies as well as Asian, Black, Indigenous, Latinx, and Middle Eastern studies. One instructive moment along the way was a virtual meeting organized by the American Anthropological Association in 2020 called "Raising Our Voices." Invoking voice as a metaphor for political participation would not be noteworthy save for the fact that the event included little direct engagement with voice, sound, and music as political phenomena worthy of "raising our voices" about. While the 2020 conference had been scaled back in response to the COVID-19 pandemic, it is nevertheless telling that the roundtable we organized with many of the contributors to this issue was the only session on the program that dealt explicitly with music or sound.There is a tradition in anthropology of relegating sound to an epiphenomenal realm, as grounds for the study of language and culture, especially, but whose aesthetic, performative, and embodied dimensions only figure as "political" when bundled with explicitly political texts. Our work is part of a growing body of anthropological and ethnomusicological study that foregrounds sound as an analytic in and of itself, in relation to language and discourse but not as an afterthought. Engaging with the field of sound studies, and specifically the role of sound in "culture," we are concerned with what sounds do-sound as epistemology, as refusal, as history and liberation, as commoning and in common, the semiology of sound-and the many possibilities for politicizing the sonorous. The practices of making sound and listening to sound are theorized as manifestations of the political that are entwined with, but not reducible to, semantic content or metaphorical utility. Toward this end, we collectively draw inspiration from fields of study perennially invoked as supplemental to anthropology or marginalized for a supposed lack of analytical rigor, yet whose insights consistently yield fruitful transformations within the discipline (Allen and Jobson, 2016;Cattelino and Simpson, 2022; Chavéz and Pérez, 2022).The authors gathered here pursue how the politics of sound are enacted within and upon aggrieved communities in urban spaces across North America: Latinxs in Chicago, Black New Orleanians, Indigenous Americans in Vancouver, and alliances between Asians, Latinx, diasporic Africans, and Muslims in Los Angeles. At a dance club, a performance site, or in a funeral procession, sound has the potential to draw individuals into assembly, to create spaces of belonging or mobilize various forms of political action and collective witness, whether influencing formal politics, kindling alternative civil societies, or simply making social life in opposition to the biopolitics of individualization and atomization. We proceed from Jacques Rancière's ([2001] 2010, 36) overarching fusion of t...
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