Listening and not listening to voices : Interrogating the prejudicial foundations of the sound arts canon. Audio Paper published in Seismograf (listening, write analysis of about it, what did you find what you listened and not listened)
Notes I took while I’m listening to this:
When it first started it was repeating the words and adding echos to some of them, the sound effect gives a good intro
Who’s voice might not listening to? Does sound not matter?
She uses left and right channel to perform this work, where she put her mother’s voice on right channel, and her own speech on the left
She’s trying to explain her reason of why she’s not hearing from her mother, she said “I need space” where that’s been overlapping and repeated in the background
Why is our voice in these certain ways, sonic activism to make our culture pluralistic, educate ourself listen better and listen new
In this paper, why not our voices in so many ways, my own sound journey, emergency of sound art, how sound art needs to be a place where there are plural verse voices to be heard rather than the voices that are heard.
Arthur explained that while she is listening to her mother, she is the most benefited person but she feels uncomfortable, because it demands time and energy, and she has other things to do (after this she asks herself “am l listening to her?”) (this is used as a connecting sentence, as well as leading to the next topic she’s going to focus on)
In sound art we listening to field recording, nature and all sound elements, objects, forms of matter than people
Whose voices are we listening to? And are able to hear what lies beneath the word? Do we have a choice? Are we only listening to our own voice and who are we?
Women are assumed to be like weak animals, where it is forbidden to have voice in broadcast at all, some principles are against female voices in sport, news and most particularly music.
At the moment there are still majorly white male cannaive sound art.but female provide love sound, they are contributing to building to maintain this canon, how is only focusing on white male (keep echoing for the key words and the question)
Are we able to hear what lies beyond our words? How are we as a group in prisoning ourselves behind our language? How can we hear beneath surfaces the visible, visible in the case might be rare, obvious then the easy, what language we adopt of the discord of the sound art, is that language, the traps in the known.
Fossa, by Amy Cutler
This section will examine Amy Cutler’s Fossa from the perspectives of its invisibility, interactivity, and intimate texture. The soundscape by Emily Wells effectively illustrates how the materiality of sound can critique the misogynistic erasure of domestic labor and redefine the gallery as a space of ethical, embodied encounter. The central mechanism of the project is a feminist acoustic intervention: geological models composed of human hair produce localized, pre-recorded home noises, such as the clink of china or the scratch of a pen, only when a viewer approaches. (Burleigh, 2025) By rejecting the historical silence placed on women’s labor, this interactive sonic materiality directly criticizes misogyny. Instead of being background noise, the private, monotonous, and psychologically draining sounds of maintenance are concentrated as the work’s throbbing core, sonifying the massive but unseen labor that sustains the social order. The piece also deftly redefines the politics of the listening environment. The gallery becomes an activated arena where the viewer is made complicit, rather than a place of isolated visual contemplation. Audiences are unable to watch from a safe distance as your body moves through the room, acting as an unintentional activator of these auditory memories. The audience is made intensely aware of their existence within a system of historical monitoring and disruption through this forced connection, which produces a charged, relational space. Instead of broadcasting in public, the sounds come from a particular, hair-lined “fossa” (a trench or ditch), providing a private, almost confessional acoustic space that one must lean into to physically replicate the act of listening for the voice of the disadvantaged. This sound installation’s use of space has significantly challenged the patriarchal devaluation of the household, as well as the misogynistic assumption that women are the domestic workers.