The beginning of the second volume of Resonance expands on our mission to deliver compelling and original scholarship, writings that have unique historical, critical, artistic, and cultural perspectives on sound from a diversity of intellectual voices. In this issue are invited essays and original research that attend to how filmmakers create refined layers of meaning through the unique use of narration and through music’s ability to convey characterization. The issue also researches the detailed relationship between sound and gentrification in Berlin, as well as nuanced artistic processes pertaining to listening in to forests with a democratic ear. By contrast, the composing of ambient sound into an industrial sound design for David Lynch’s film Eraserhead is considered as a sonic lament to the decline of the steel industry in the United States. Also, a close examination of shared intimacy in...
Introduction: Words from the Co-Founding Editors
Jay Needham is an artist, musician, and cultural producer who utilizes multiple creative platforms to produce his works, many of which have a focus on sound and site-specific field research. His sound art, works for radio, visual art, performances, and installations have appeared worldwide at museums, festivals, and on the airwaves. His most recent sound installation is on permanent display in the BioMuseo, designed by Frank Gehry in the Republic of Panama. Needham’s writing appears in the books Hearing Places: Sound, Place, Time, Culture and Moving Sounds: A Cultural History of the Car Radio. His research has been published in Exposure, Soundscape: The Journal of Acoustic Ecology, and Leonardo Music Journal. Needham is a professor in the Department of Radio, Television and Digital Media at Southern Illinois University Carbondale. He received his MFA from the School of Art at California Institute of the Arts.
Phylis West Johnson is Professor & Director of Journalism and Mass Communications at San Jose State University and Emeritus Professor of Sound and New Media in the College of Mass Communication and Media Arts at Southern Illinois University Carbondale. She has served as editor for Soundscape: The Journal of Acoustic Ecology and the Journal of Radio and Audio Media. Her most recent book publication is Moving Sounds: A Cultural History of the Car Radio (Peter Lang, 2019). She received her PhD in 2003 from Southern Illinois University Carbondale.
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Jay Needham, Phylis West Johnson; Introduction: Words from the Co-Founding Editors. Resonance 1 March 2021; 2 (1): 1–5. doi: https://doi.org/10.1525/res.2021.2.1.1
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