whale song

Grebowicz, Margret

doi:10.5040/9781501329289

Cited by 9 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…It's not that one listens to or for silence, it's that silence is the condition of every listening. (Grebowicz 2017) You were once a citizen of a country called I Don't Know… Remember the burning boat that took you there? Climb in.…”

Section: Silence Absence and The Voidmentioning

confidence: 99%

Listening to the Post-script: Intersections Between Improvisation and Indeterminacy in Music and Education

Wilson

2022

Postdigit Sci Educ

View full text Add to dashboard Cite

This article begins by exploring how current educational research describes the role of improvisation in education. Drawing on Biesta’s (2017) discussion of the purpose of the educational task, it then argues for a broader consideration of the role of improvisation in education and its potential to positively disrupt traditional linear timescapes. While discussions of improvisation in education often reference jazz music, this study explores a broader range of indeterminate musical forms to gain different insights. Specifically, it translates Stern’s (1988) Table of Transformational and Musical Hierarchies into a framework for education to support educators in considering the role of improvisation in their design and teaching practice. The adapted conceptual model incorporates the dimensions of complex learning environments described by the Activity-Centred Analysis and Design (ACAD) framework as discussed by Goodyear and Carvalho (2014), and in the process, surfaces the temporal aspects of the ACAD framework for closer examination. The model highlights several factors that take on a more significant role in highly indeterminate educational forms such as silence, absence, openings, and rupture. It also provides an opportunity to reflect on ways in which technology contributes to enabling or constraining improvisational processes in postdigital education. The study contributes to research on the intersection between sound and education, and to making the sonic dimension of education one of more ‘intentional concern’ as described by Ford and Sasaki (2021).

show abstract

Section: Silence Absence and The Voidmentioning

confidence: 99%

Listening to the Post-script: Intersections Between Improvisation and Indeterminacy in Music and Education

Wilson

2022

Postdigit Sci Educ

View full text Add to dashboard Cite

show abstract

“…This is not to mention the ways digital technologies amplify existing voices in a political economy that demands and provides pathways for us to articulate our concerns and desires (Ford 2022b). 'As humans make their "voices" heard in the institutions available to them for what today passes for self-expression', Grebowicz (2017) writes, 'the world becomes literally-visually-noisier and noisier' (75). The data produced as we 'express ourselves' alters our soundscape further as they merge with and diverge from other sonic elements in what Pettman (2017) calls the vox mundi, or voice of the world.…”

Section: Soundscapes and The Postdigital: Social Historical And Philo...mentioning

confidence: 99%

Postdigital Soundscapes: Sonics, Pedagogies, Technologies

Ford

2022

Postdigit Sci Educ

View full text Add to dashboard Cite

“…Blue whales, fin whales, gray whales, right whales, and humpbacks sing complex, locally specific songs to navigate and communicate with one another in a manner resembling dialects, constituting, as Margaret Grebowicz notes, "the largest communication network for any animals, with the exception of humans" (Grebowicz 2017, Kindle location 107 of 2251. Additional noise in the ocean from shipping and sonar impacts migration, mating, and other social behaviors (NOAA National Marine Sanctuaries 2016).…”

Section: Media+environmentmentioning

confidence: 99%

Sonic Pipelines at the Seafloor

Han

2021

Media+Environment

View full text Add to dashboard Cite

How did the offshore oil industry develop the means to image the seafloor with photographic precision? What are the stakes of producing images through processes that simultaneously produce carcasses? This essay addresses these questions by charting the ambivalent history of reflection seismology from the 1940s to the present day. In the postwar era, when offshore drilling was just emerging, companies like Union Oil, Shell Oil, Macco Corporation, and affiliated researchers were key actors in the development of offshore prospecting techniques. From wire sounding technologies like the soundfish to modern airgun surveys, the hunt for energy resources paved the way for high-resolution imaging of the ocean floor, despite devastating ecological casualties. Drawing from sound studies scholarship in addition to interviews and oceanographic records, this essay focuses on how petroleum surveys have affected the material space of their interventions. In particular, I theorize the survey as a distinct framework for knowledge that privileges comprehensive and continuous information feeds. I contend that the repeated bias toward frictionless signal in combination with discourses of energy security has obscured and even justified the harmful ecological impacts of reflection seismology on ocean environments. Ultimately, I argue that rather than starting with the visual abstractions of survey maps and seismic images, attention must be returned to the violent sonic “bangs” of surveying—a recurring event that is inseparable from the nonhuman and environmental agencies, casualties, and affects that co-constitute the media-making process.

show abstract

whale song

Cited by 9 publications

References 0 publications

Listening to the Post-script: Intersections Between Improvisation and Indeterminacy in Music and Education

Listening to the Post-script: Intersections Between Improvisation and Indeterminacy in Music and Education

Postdigital Soundscapes: Sonics, Pedagogies, Technologies

Sonic Pipelines at the Seafloor

Contact Info

Product

Resources

About