Unmapping the Caribbean: Toward a Digital Praxis of Archipelagic Sounding

Goffe, Tao Leigh

doi:10.7916/archipelagos-72th-0z19

Cited by 4 publications

(3 citation statements)

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“…Tidalectics disrupts this way of mapping through its ability to hold multiple truths moving in multiple directions at the same time; its traces then become a way of un/mapping. As Tao Leigh Goffe (2020) explains, “if mapping is about knowing and surveying then un/mapping is about unknowing and uncharting territory,” Tidalectic un/mapping is not about possession or creating borders but becomes about tracing the infinite possibilities of the interplay between memory and imagination. Open to interception, Tidalectic un/mapping “welcomes not knowing” to be receptive to alternative ways of knowing (Goffe 2020).…”

Section: Un/mapping Dunhammentioning

confidence: 99%

“…As Tao Leigh Goffe (2020) explains, “if mapping is about knowing and surveying then un/mapping is about unknowing and uncharting territory,” Tidalectic un/mapping is not about possession or creating borders but becomes about tracing the infinite possibilities of the interplay between memory and imagination. Open to interception, Tidalectic un/mapping “welcomes not knowing” to be receptive to alternative ways of knowing (Goffe 2020). Tidalectic un/mapping does not do away with mapping that draws definitive lines; its multiplicity allows for these lines to exist alongside many other types of lines.…”

Section: Un/mapping Dunhammentioning

confidence: 99%

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Tidalectic Un/mapping and the Performance of African Diasporic Imagination in the Repertory of Katherine Dunham

Uzor

2023

Dance Res. J.

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This article foregrounds imagination to consider how African diasporic conditions converge with choreographic expression. The analysis “un/maps” dominant understandings of the choreographic process of mid-twentieth-century African American choreographer-anthropologist Katherine Dunham by expanding Kamau E. Brathwaite's (1993) concept of Tidalectics beyond the Caribbean to the wider African diaspora and a distinctly Caribbean comprehension of diasporic imagination. Utilizing datasets and visualizations created by the project, Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry, this article traces how the concept of Brazil is imagined and reimagined within Dunham's archive from 1937 to 1962. In doing so, it considers the complex positionality of Dunham as both a pioneering minoritized woman navigating the politics of race, gender, and financial precarity, and someone who yielded their imperial privilege as a US citizen through their career to bring nuance to Dunham's narrative as a canonical dance figure.

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Section: Un/mapping Dunhammentioning

confidence: 99%

Section: Un/mapping Dunhammentioning

confidence: 99%

Tidalectic Un/mapping and the Performance of African Diasporic Imagination in the Repertory of Katherine Dunham

Uzor

2023

Dance Res. J.

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“…Scholarship in decolonial studies has pointed to the potential of sound as a tool that unsettles dominant epistemologies (Robinson, 2020). Sound, as a physiological experience of vibrational energy, is co-constructed by the listened-to and the listener; as such, it presents a model of knowing based on reciprocity and the collapse of self/other boundaries (Goffe, 2020). Drawing from this body of scholarship, I put forth the concept of "the sonic interface" as a tool to examine and interpret everyday internet experience that reveals a more embodied, relational, and situated way of understanding humanmachine interactions.…”

Section: Introductionmentioning

confidence: 99%

What Does the Internet Sound Like?

Bhandari

Bimo

Butkowski

et al. 2023

SPIR

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When it comes to the study of internet phenomena, the visual constitutes a privileged mode of analysis, as seen by the ample and storied scholarship on visual media dn visually based methods. In order to disrupt this “hegemony of the visual,” and explore alternate ways of knowing and being online, this panel bring internet studies scholarship into meaningful dialogue with sound studies scholarship and poses the provocation: “how can sound be used methodologically in order to expand and deepen our understanding of the internet?” This topic is addressed in a variety of ways by the contributing authors. The first paper of this panel introduces the concept of deep listening as a feminist analytical method for “tuning-in” to the persistent hegemonic structures that underly digitally mapping technology. The second paper presents the concept of “the sonic interface” as a means to examine how sound mediates our everyday interactions with the internet. The third paper proposes the use of participatory arts based methods as a reflexive and critical framework through which researchers can begin to “listen” to alternative internet narratives while centering the voices of communities rather than researchers. The final paper deploys sound as a method for studying social behaviour on TikTok, and demonstrates the widespread applicability of sonic methods in the wider study of internet phenomena. All in all, this panel aims to highlight the immensely generative potential of centring sound in our interrogations of the online and the digital.

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