Black Sound and the Archive : Symposium Feb 7-8 at Yale University

I’m pleased to present a new work. “Pneumatic Memory: Listening to Listening in ‘The B-Side'”

Friday, February 8, 8:45am-5:30pm, Sterling Memorial Library Lecture Hall
All-day BSAW Symposium

Roundtable Presenters & Featured Speakers:

Lara Cohen (Swarthmore)
Michael Denning (Yale)
Nina Eidsheim (UCLA)
Vijay Iyer (Harvard)
Roshanak Kheshti (UCSD)
Carter Mathes (Rutgers)
Julie Beth Napolin (The New School)
Marti Newland (Harry T. Burleigh Society)
Mendi Obadike (Pratt Institute)
Imani Owens (Univ. of Pittsburgh)
Brittnay Proctor (College of Wooster)
Anthony Reed (Yale)
Sonnet Retman (Univ. of Washington)
Wadada Leo Smith (Musician)
Gustavus Stadler (Haverford College)
Jennifer Stoever (SUNY Binghamton)
Sherrie Tucker (Univ. of Kansas)
Alexandra T. Vazquez (NYU)
Michael Veal (Yale)
Gayle Wald (George Washington Univ.)

Thank you to Daphne Brooks and Brian Kane for organizing. For more information, visit http://blacksound.yale.edu/amazing-grace-and-bsaw-symposium/

The Politics of The Musical Situation: A Response to Marina Rosenfeld

We are grateful to artist Kevin Beasley for including our dialogue on the “Perspectives” page for his current sound and sculpture exhibition at the Whitney Museum, “A view from the landscape,” open through March 10, 2019. The exhibition pursues the legacy of the South and the moment that cotton was King.

https://whitney.org/Exhibitions/KevinBeasley#exhibition-perspectives

juliebethnapolin

The Politics of the Musical Situation: A Response to Marina Rosenfeld

Cover Image
Julie Beth Napolin, Marina Rosenfeld

Author and researcher Julie Beth Napolin presents here responses to sound artist Marina Rosenfeld from a discussion at The New School in New York City. Including material from a Bomb magazine interview with Rosenfeld, the political terrains of listening and power intersect acoustic art making.

continent Issue 5.3 / 2016 “Acoustic Infrastructures

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Shoo bop shoo bop, my baby, ooooo: W.E.B. Du Bois, Sigmund Freud & Barry Jenkins’ Moonlight

The last post in my three-part blog series on maternal sound and listening in Du Bois and psychoanalysis. This post focuses on the incredible sound design of Barry Jenkins’ film, Moonlight. Thanks to Sounding Out! for their capacious forum.

Sounding Out!

Inspired by the recent Black Perspectives “W.E.B. Du Bois @ 150” Online Forum, SO!’s “W.E.B. Du Bois at 150” amplifies the commemoration of the occasion of the 150th anniversary of Du Bois’s birth in 2018 by examining his all-too-often and all-too-long unacknowledged role in developing, furthering, challenging, and shaping what we now know as “sound studies.”

It has been an abundant decade-plus (!!!) since Alexander Weheliye’s Phonographies “link[ed] the formal structure of W.E.B. Du Bois’s The Souls of Black Folk to the contemporary mixing practices of DJs” (13) and we want to know how folks have thought about and listened with Du Bois in their work in the intervening years.  How does Du Bois as DJ remix both the historiography and the contemporary praxis of sound studies? How does attention to Du Bois’s theories of race and sound encourage us to challenge the ways in which white supremacy has historically shaped American institutions, sensory…

View original post 2,350 more words

Listening to and as Contemporaries: W.E.B. Du Bois & Sigmund Freud

Part one of a three-part series on Du Bois, sound, and psychoanalysis.

Sounding Out!

Inspired by the recent Black Perspectives “W.E.B. Du Bois @ 150” Online ForumSO!’s “W.E.B. Du Bois at 150” amplifies the commemoration of the occasion of the 150th anniversary of Du Bois’s birth in 2018 by examining his all-too-often and all-too-long unacknowledged role in developing, furthering, challenging, and shaping what we now know as “sound studies.”

It has been an abundant decade-plus (!!!) since Alexander Weheliye’s Phonographies “link[ed] the formal structure of W.E.B. Du Bois’s The Souls of Black Folk to the contemporary mixing practices of DJs” (13) and we want to know how folks have thought about and listened with Du Bois in their work in the intervening years.  How does Du Bois as DJ remix both the historiography and the contemporary praxis of sound studies? How does attention to Du Bois’s theories of race and sound encourage us to challenge the ways in which white supremacy…

View original post 3,088 more words

(T)racing Mother Listening: W.E.B. Du Bois & Sigmund Freud

Part two of a three-part series on Du Bois, sound, and psychoanalysis.

Sounding Out!

Inspired by the recent Black Perspectives “W.E.B. Du Bois @ 150” Online Forum, SO!’s “W.E.B. Du Bois at 150” amplifies the commemoration of the occasion of the 150th anniversary of Du Bois’s birth in 2018 by examining his all-too-often and all-too-long unacknowledged role in developing, furthering, challenging, and shaping what we now know as “sound studies.”

It has been an abundant decade-plus (!!!) since Alexander Weheliye’s Phonographies “link[ed] the formal structure of W.E.B. Du Bois’s The Souls of Black Folk to the contemporary mixing practices of DJs” (13) and we want to know how folks have thought about and listened with Du Bois in their work in the intervening years.  How does Du Bois as DJ remix both the historiography and the contemporary praxis of sound studies? How does attention to Du Bois’s theories of race and sound encourage us to challenge the ways in which white supremacy has historically shaped American institutions, sensory…

View original post 3,506 more words

“Narrative Acoustics” : November 14 at Penn

“If there is a space of thinking, either real or virtual, then within it there must also be sound, for all sound seeks its expression as vibration in the medium of space,” writes Bill Viola. We think of narrative as being with “space”  and, while we understand literature as being with a poetics and rhetoric, we do not ask after its acoustics. What, then, is narrative acoustics? In a triple gesture, it is the making of narrative space by sound, the virtual hearing of sounds in narrative and intertextual space, and the narrative of sonic change. This talk takes us through some of the acoustical-narrative spaces of Flaubert, James, Faulkner, Ellison, and Hitchcock.

At 5:15pm in Lerner Center 102, University of Pennsylvania, Department of Music, Graduate Student Colloquium Series

Conradian Crosscurrents : Creativity and Critique : Fordham University June 1-3

I am excited to be speaking at this event on Friday June 2 on the media crosscurrents panel. My paper, titled “Music’s Unseen Body,” locates in Heart of Darkness the erotic echoes of Conrad’s experiences of listening to opera and the phonograph. In the sound space of the novel, I find resonances with W.E.B. Du Bois’ contemporary writings of opera, as well as a fore-echo of the American reception of Conrad by queer composer Henry Cowell.

To register for the conference, follow this link:

http://www.josephconrad.org/Upcoming-Conferences/Conradian-Crosscurrents/conradian-crosscurrents.html