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Keywords: sound studies
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Journal Articles
Feminist Media Histories (2020) 6 (2): 148–175.
Published: 01 April 2020
... web page, http://www.ucpress.edu/journals.php?p=reprints . 2020 Regents of the University of California Creole music extraction petroculture sound studies Texas zydeco Visitors to the Houston Museum of Natural Science are beckoned into the Eagle Ford Shale Experience—aka the EFX-3000...
Abstract
This paper critically listens to the Oral History of the Texas Oil Industry archives, a concatenation of slightly drawling white oilmen recorded in the mid twentieth century. The uniformity of the authorial voices in this archive helps to construct a monolithic white historiography that sanitizes collective memory in Texas. The archive offers insight into the sonic qualities of power in Texas as it is mediated through an idealized Texan identity via accent. In an effort to unsettle the authority of this totalizing Texan identity and its voice, this paper also listens to the history of Creole music as it migrated into Texas and transformed in contact with the state's oil industry. Placing these two different vocal histories together, one self-assured and one characterized by stretching its own limits, interrogates how we listen to the voice in history, attuned to sonic and vocal notations of power as it has alternately been enjoyed or endured.
Journal Articles
Feminist Media Histories (2020) 6 (2): 176–206.
Published: 01 April 2020
... California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints . 2020 Regents of the University of California Indigeneity Indigenous ecological knowledge materialism sound art sound studies The soundscapes and resonances of Rebecca Belmore's (Anishinaabe...
Abstract
This essay addresses the silences and soundings of Rebecca Belmore's (Anishinaabe) and Julie Nagam's (Anishinaabe/Métis/German/Syrian) sound art, which reflects their environmentalism and profound commitment to Indigenous ways of knowing, making, and listening. Working at the intersection of sound art and politics, the two perform sonic interventions into settler colonial spaces—the National Parks system and the gallery, respectively. Belmore's Wave Sound (2017) and Nagam's Our future is in the land: If we listen to it (2017) illustrate how their sound art gravitates toward the ecological and considers what healthy and unhealthy relationships between humans and the nonhuman world—plants, animals, resources—sound like. Belmore and Nagam introduce marginalized perspectives and voices to address the problematic authority of whiteness that conspicuously dominates the discourse on music, sound, and environment—a relatively homogenous and exclusionary artistic, technological, and scientific discussion.
Journal Articles
Feminist Media Histories (2018) 4 (2): 179–184.
Published: 01 April 2018
...=reprints . 2018 feminism listening recording sound studies The interdisciplinary “studies” that formed on the margins of the traditional disciplines toward the latter part of the twentieth century—American/ethnic studies, cultural studies, film studies, gender/women's studies, performance...
Journal Articles
Feminist Media Histories (2018) 4 (2): 207–213.
Published: 01 April 2018
...=reprints . 2018 comparative diaspora mediascape sound studies transnational The field of transnational feminist media cultures emerges from the intersection of three key analytical realms: the geopolitical site, a feminist orientation, and media technologies and cultures. Each of these...