Week 3: Information, Language and Interaction
How do we, as sound artists, contextualise ourselves within a wider context of sound art whilst distilling our work and research in audio papers? How do we approach language to communicate ideas effectively? Should the language of sound be accessible?
Rancière argues against the progressive temporality of pedagogic relations and provides an alternative thesis that equality is a point of departure for social and pedagogic encounters. He also emphasises the importance of aesthetics and the ‘distribution of the sensible’ as a mechanism for understanding who is un/able to be seen, speak and produce knowledge.
I am therefore I think
In elucidating the argument that all have ‘equality of intelligence’, Rancière (1991, p. 27) distinguishes between ‘manifestations of intelligence’ and ‘intellectual capacity’: ‘Our problem isn’t proving that all intelligence is equal. It’s seeing what can be done under that supposition’ (p. 46). In other words, this is not an attempt to empirically demonstrate that all are equally intelligent, but rather an opportunity to think through the possibilities of a social world organised differently. This supposition equates to the powerful claim that all have the right to think. In his archival work exploring the marginal lives of nineteenth- century labourers, Rancière (1989) identifies emancipation in the way the workers claim time for intellectual contemplation. By enacting this capacity and entitlement to think, the workers reconfigure the aesthetic territory of the social order, as having time and space for study and reflection is usually the privilege of the bourgeoisie. This aesthetic dimension 214 C. Lambert Downloaded by [University of Brighton] at 03:22 29 October 2015 will be considered in greater detail later, but first I want to examine the implications of Rancière’s displacement and re/definition of equality for pedagogy.
Cath Lambert (2012) Redistributing the sensory: the critical pedagogy of Jacques Rancière, Critical Studies in Education, 53:2, 211-227, DOI: 10.1080/17508487.2012.672328
https://web.archive.org/web/20150629032452/http://www.soundonsound.com/information/Glossary.php
Jingya and I both attended the female soundart zine activity and then I found her topic on cyberpunk game was very intriguing so I asked for a listen on her audio paper:
introduction of different playing games
Background music, sound effects, sound characters
Gaming experience-emotional experience
Sound archive-sound company
Sound itself
Environment of the sound
Players ( notes during I listen to it)
She invited plenty of her Chinese friends to talk about the game experience they have and I found it quite domestic, though they did not speak Chinese–(I agreed on the idea of having English on an audio paper because the thinking of audience listening. I think I would include some Chinese words which did not have an English definition in the dictionary and I found it would be interesting if I could define it in my way.) Her audio paper was very organised, very clear. She let me, who didn’t know anything about games, enter a whole new virtual world. She used onomatopoeia to make her voice more lovely. She did a lot of sound design on the left and right panning to allow the sfx to shuttle flexibly on the sound.