Jean-Luc Nancy and the Listening Subject

Kane, Brian

doi:10.1080/07494467.2012.759413

Cited by 41 publications

(13 citation statements)

References 2 publications

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“…Nancy (2008) encourages a listening subject beyond a phenomenological "point of view" insisting that listening is "always still yet to come, spaced, traversed and called by itself, sounded by itself" to a resonance of being (p. 21). Key to Nancy's argument is his appropriation of two French verbs from electro-acoustic composer, Pierre Schaeffer, 7 écouter and entendre (Kane 2012). Écouter denotes "distance and spatial location (where) identifying objects on the basis of their distinguishing sonic characteristics" assists us in situating sound (Schaeffer 1966, p. 106, cited in Kane 2012.…”

Section: Methodsmentioning

confidence: 99%

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Listening to Epilepsy: Reexamining SoundCloud, Sonic Desire, and Affective Labor

Chilianis¹

2018

Catalyst

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While many patients who are ill form significant networks of support online I argue that to describe experiences in language over social media is not always desirable for someone with epilepsy. My line of inquiry instead explores the tension between music creation and fragmented subjectivity, and folds in a critique of SoundCloud, the music sharing and networking site. I start with an analysis of what it means for the subject to compose and produce electronic music, and then with an analysis of my own music on SoundCloud. I investigate affective attachment in relation to our entanglement with music and social media, and I extend this to a survey of subjectivity, physicality and networked capitalism. In the article, affect and listening are related through their materiality and space, and by their capacity to mediate sound and meaning. I examine listening for its potential to expand critical activity in accord with embodied processes that are relevant to situated disability. Listening and affect guide my argument as concepts, and I conclude that distinct facets of listening can be connected to an ethics of living in the information society.

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Section: Methodsmentioning

confidence: 99%

“…Schaeffer's first word for listening is Ouïr. It describes distracted attention to background sound and noise, where everyday sounds pass us by unnoticed; with the second meaning, comprendre, we aim to understand messages from utterances and languages, including "musical grammars" (Kane, 2012). and acoustic events in a jam session?…”

Section: Methodsmentioning

confidence: 99%

Listening to Epilepsy: Reexamining SoundCloud, Sonic Desire, and Affective Labor

Chilianis¹

2018

Catalyst

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“…Auditory comprehension and listening to voice can both be understood as forms of entendre. Écouter, by contrast, shifts ‘the emphasis away from the act of understanding, of grasping and affixing the world through intentional acts, toward the receptivity of the ear, and its tense and coiled acts of uncertain openness through listening’ (Kane, , p. 442). Hearing the otherness of sound's fleeting movements, écouter is a kind of listening that does not know what listening can do, remaining open to sound's capacity to surprise.…”

Section: Listening Meaning and Affectmentioning

confidence: 99%

Listening differently: A pedagogy for expanded listening

Gallagher

Prior

Needham

et al. 2017

British Educational Res J

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Mainstream education promotes a narrow conception of listening, centred on the reception and comprehension of human meanings. As such, it is ill‐equipped to hear how sound propagates affects, generates atmospheres, shapes environments and enacts power. Yet these aspects of sound are vital to how education functions. We therefore argue that there is a need to expand listening in education, and suggest that listening walks could provide a pedagogy for this purpose. Using interview data in which early years practitioners reflect on a listening walk, we show how the method can: (i) produce heightened multisensory experiences of spaces; (ii) generate forms of difficulty and discomfort that produce new learning; and (iii) influence practice, particularly practitioners’ ability to empathise with young children. Listening walks function by disrupting everyday sensory habits, provoking listeners to listen anew to their own listening, in an open‐ended way that is not tied to predetermined learning outcomes. The method therefore has wider pedagogic potential for rethinking education and childhood beyond rationality, representation and meaning.

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“…Tracing the intersections between contemporary mobile phone use, responsive digital technologies and movement improvisation, the aim of this article is to discuss movement sonification in relation to the use of domestic technologies and through the lens of philosophical accounts that could be broadly called otocentric. 2 These include a text by Jean-Luc Nancy (2007) as well as subsequent critical commentaries Janus 2011;Kane 2012); Don Ihde's (2007) [1976] phenomenological account of listening;…”

Section: Introductionmentioning

confidence: 99%

“…Yet, it is debatable whether these shortcomings cancel out Nancy's project in toto. It is important to point out that Hickmott's criticism is particularly concerned with Nancy's treatment of music, and less with his account of sound and that Kane (2012), who focuses on the meaning of the French verbs that Nancy uses to distinguish between listening/hearing, is a lot more sympathetic to Nancy's overall attempt. It also bears noting that, for the purposes of this article, Ihde's phenomenological analysis and Connor's historical examination can serve as correctives to Nancy's tendency on one hand to abstract his account from any specific body and at the same time to generalise examples that are rooted in specific cultural and/or corporeal instances.…”

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confidence: 99%

Making the body all ears: Sonolope and a somatic practice ofreallylistening

Kapsali

2017

International Journal of Performance Arts and Digital Media

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Movement sonification is an ongoing area of artistic research attracting the interest of musicians, technologists and movement practitioners. Similarly, mobile phones are frequently used in artistic contexts. By discussing Sonolope, a mobile phone application that enables the production of quadrophonic sound through the user's movement in the space, this article aims to contribute to existing scholarship by examining the experience of sound and movement coproduction in relation to the sensory modalities that underpin mobile phone use and through a set of philosophical accounts that focus on listening. It will be argued that Sonolope, as well as similar systems of movement sonification, can offer a third category of experience and analysis that transcends the existing binaries between external appearance and internal sensation, image and proprioception. It is thus intended to examine sound as an integral part of the user's experience within movement sonification, and position such an experience in relation to somatic practice, mobile phone use and a wider philosophical project of developing a 'sonorous subject'.

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Jean-Luc Nancy and the Listening Subject

Cited by 41 publications

References 2 publications

Listening to Epilepsy: Reexamining SoundCloud, Sonic Desire, and Affective Labor

Listening to Epilepsy: Reexamining SoundCloud, Sonic Desire, and Affective Labor

Listening differently: A pedagogy for expanded listening

Making the body all ears: Sonolope and a somatic practice ofreallylistening

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