#sandra naumann

[fanhackers]

During the pandemic, we, fans, have been able to rely on some of our already existing coping mechanisms to deal with the increased strain of our mental health due to the global crisis. Participants in a study about the mental health of PhD students during the pandemic responded that their coping strategies mainly included social interaction and recreational activities. Furthermore, 

Lower scores of depression and anxiety were predicted by the strength of the overall social network (…) NAUMANN, SANDRA, LENA MATYJEK, KATHARINA BÖGL, SCHOLAR MINDS, AND ISABEL DZIOBEK. UPDATE ON THE MENTAL HEALTH CRISIS IN ACADEMIA: EFFECTS OF THE COVID-19 PANDEMIC ON EARLY CAREER RESEARCHERS’ MENTAL HEALTH AND SATISFACTION WITH PHD TRAINING, 2022. 

In another survey, this one about Philippine BTS fans, social interaction and recreational activities were  both listed as ways that fandom supported participants’ mental health.

Despite being isolated from one another geographically due to the lockdown, the fans felt that BTS was with them throughout the pandemic, through their music, live videos, tweets, pictures, and even the mere thought of them. VANGUARDIA, MARC. “LOVE YOURSELF, BTS ARMY: PARTICIPATORY FANDOM AND AGENCY DURING THE COVID-19 PANDEMIC.” PHILIPPINES COMMUNICATION SOCIETY REVIEW, 2021, 229.

These digital  networks of intimacy allowed for comfort, happiness, and healing to be conveyed and received across miles in the physical realm and created imagined yet profound connections that acted as safe spaces for ARMYs online. VANGUARDIA, MARC. “LOVE YOURSELF, BTS ARMY: PARTICIPATORY FANDOM AND AGENCY DURING THE COVID-19 PANDEMIC.” PHILIPPINES COMMUNICATION SOCIETY REVIEW, 2021, 231.

By seeing other ARMYs and interacting with them on various social networking sites, the (survey) participants felt less lonely as a part of a community of people who shared not only the same interest and admiration for BTS but also similar experiences regardless of their cultural, linguistic, gender, and other identifying background. (Participants) pointed out that relationships were formed not only as fans of the same idols but as individuals who were included in each other’s support systems. VANGUARDIA, MARC. “LOVE YOURSELF, BTS ARMY: PARTICIPATORY FANDOM AND AGENCY DURING THE COVID-19 PANDEMIC.” PHILIPPINES COMMUNICATION SOCIETY REVIEW, 2021, 241-242

The individual activities and actions that the participants engaged in as fans of BTS served as a distraction from the bleak reality of the pandemic. By being occupied with tasks such as streaming, voting, and getting updated on the fandom over stan Twitter, the fans were able to focus on accomplishing things instead of dwelling on their problems and concerning themselves with the situation of the world around them. By being able to control something they found an anchor that was constant, and had a sense of agency in a time of almost complete uncertainty. (…) The participants exhibited a high level of consciousness of the positive effects and potential drawbacks of their engagement in the fandom. They recognized the various ways that their actions could affect their well-being, and adjusted accordingly by putting themselves in conducive situations that would provide them the greatest benefit. VANGUARDIA, MARC. “LOVE YOURSELF, BTS ARMY: PARTICIPATORY FANDOM AND AGENCY DURING THE COVID-19 PANDEMIC.” PHILIPPINES COMMUNICATION SOCIETY REVIEW, 2021, 239-240.

Fandom might be seen then, as a culture that adapted well to the pandemic. It would be tempting to characterise academia as also not needing to change drastically in a world in lockdown.

Drawing a parallel between these two is not a new statement.

In some cases, we argue that academic research interests paralleled fannish passion. HAYASHI, AYA ESTHER. 2020. “REIMAGINING FAN STUDIES IN THE AGE OF COVID-19 AND BLACK LIVES MATTER.” TRANSFORMATIVE WORKS AND CULTURES, NO. 34. HTTPS://DOI.ORG/10.3983/TWC.2020.2029.

However, both fandom and academia have their  issues, which were  not only carried over into  the pandemic but might have been amplified by it . As McMillan Cottom explained  in a roundtable about the state of higher education,

Overall, most college leaders saw COVID-19 as an opportunity to do more of what they had already been doing. Schools that had wanted to respond to inequality doubled down on that. School that had been trending toward profit-seeking especially under the guise of a public institution-like Purdue and Arizona State -doubled down. SHENK, TIMOTHY, MAGGIE DOHERTY, NILS GILMAN, ADAM HARRIS, TRESSIE MCMILLAN COTTOM, AND CHRISTOPHER NEWFIELD. ACADEMI AFTER THE PANDEMIC: A ROUNDTABLE ON HOW COVID-19 HAS CHANGED AMERICAN UNIVERSITIES. OTHER. DISSENT, 2021. 

(…) participatory culture of affiliation in the BTS ARMY fandom can be ambiguous at best in its effect on fan mental health. VANGUARDIA, MARC. “LOVE YOURSELF, BTS ARMY: PARTICIPATORY FANDOM AND AGENCY DURING THE COVID-19 PANDEMIC.” PHILIPPINES COMMUNICATION SOCIETY REVIEW, 2021, 243.

Notwithstanding the positive impacts of involvement in BTS ARMY? The participants generally agreed that some other ARMYs can be very “toxic”, or overly competitive, intense, or aggressive in their way of supporting BTS and engaging in “fan wars” with fans of other groups. To address this problem, some fans distanced themselves from stan Twitter altogether, avoided “toxic” fans by curating the accounts they were following or accounts following them, or decided to temporarily leave or stayed only to focus on ARMY common goals true to the ideals of BTS: The process if compartmentalization of personal and fandom life and interactions between online ARMY friends and personal/in-real-life friends that some participants reported as coping mechanisms for their mental health were a steady reality in network society where inclusions and exclusions always came together. VANGUARDIA, MARC. “LOVE YOURSELF, BTS ARMY: PARTICIPATORY FANDOM AND AGENCY DURING THE COVID-19 PANDEMIC.” PHILIPPINES COMMUNICATION SOCIETY REVIEW, 2021, 243.

In a world so changed by the pandemic, looking forward, we cannot accept neither the idea that we can go back to normal, nor the idea that we have moved toward a digital utopia. Harris says,

During the protests and reckoning over systemic racism in American life over the past year, students have been a major part of the national energy. But they haven’t had the chance to be on campus, to be in spaces where they can organize. A lot of college leaders, particularly at predominantly white institutions, are very concerned about what is going to happen when students come back. I think a lot of energy that has been pent up over the last sixteen, seventeen months will reveal itself on campuses. SHENK, TIMOTHY, MAGGIE DOHERTY, NILS GILMAN, ADAM HARRIS, TRESSIE MCMILLAN COTTOM, AND CHRISTOPHER NEWFIELD. ACADEMI AFTER THE PANDEMIC: A ROUNDTABLE ON HOW COVID-19 HAS CHANGED AMERICAN UNIVERSITIES. OTHER. DISSENT, 2021. 

We have to reflect on how to adapt to this world, possibly, how to use our current opportunities to change. 

What practices can we introduce at conferences that don’t tokenize BIPOC scholars? (…) Let’s diversify editorial boards and conference planning committees. (…) Let’s create alternative funding for conferences and journals, to transform these practices from unremunerated service activities to activities where labor is honored. HAYASHI, AYA ESTHER. 2020. “REIMAGINING FAN STUDIES IN THE AGE OF COVID-19 AND BLACK LIVES MATTER.” TRANSFORMATIVE WORKS AND CULTURES, NO. 34. HTTPS://DOI.ORG/10.3983/TWC.2020.2029.

[slettenkarina]

Referanser fra Merete

Theory  

Sound Studies and Sonic Arts Reader

Bull, Michael, and Les Back, eds. The Auditory Culture Reader.2 ed. London - New York: Bloomsbury Academic, 2016.  

Cox, Christoph, and Daniel Warner, eds. Audio Culture. Readings in Modern Music. New York: Continuum, 2004.  

Daniels, Dieter, and Sandra Naumann, eds. See This Sound: Audiovisuology: A Reader. Köln: Walther König, 2015.  

Sterne, Jonathan. The Audible Past. Cultural Origins of Sound Reproduction. Durham, London: Duke University Press, 2003.

   Sound Studies and Sonic Arts Monographs

Dolar, Mladen. A Voice and Nothing More. Cambridge: MIT Press, 2006.  

Kahn, Douglas. Noise, Water, Meat. A History of Sound in the Arts. Cambridge - London: The MIT Press, 1999.  

Kane, Brian. Sound Unseen. Acousmatic Sound in Theory and Practice. New York: Oxford Univ. Press, 2014.  

Kim-Cohen, Seth. In the Blink of an Ear. Toward a Non-Cochlear Sonic Art. New York - London: Continuum, 2009.  

Sterne, Jonathan. The Audible Past. Cultural Origins of Sound Reproduction. Durham, London: Duke University Press, 2003.  

Voegelin, Salomé. Listening to Noise and Silence. Towards a Philosophy of Sound Art. New York - London: Continuum, 2010.  

Holmes, Thomas. Electronic and Experimental Music. Pioneers in Technology and Composition [1985]. 2 ed. New York [etc.]: Routledge, 2002.  

Julius, Rolf. Small Music (Grau). Edited by Bernd Schulz and Hans Gercke. Heidelberg: Kehrer, 1995.  

Kubisch, Christina. KlangRaumLichtZeit. Arbeiten von 1980 bis 2000. Aust. Kat. Opel-Villen Rüsselsheim. Edited by Kulturamt der Stadt Rüsselheim. Heidelberg: Kehrer, 2000.  

Kuhn, Hans Peter. Licht und Klang. Edited by Bernd Schulz. Heidelberg: Kehrer, 2000.  

LaBelle, Brandon. Background Noise. Perspectives on Sound Art. New York - London: Continuum, 2007.  

Licht, Alan. Sound Art. Beyond Music, Between Categories. New York: Rizzoli, 2007.  

Lucier, Alvin. Reflections. Interviews, Scores, Writings 1965-1994 / Reflexionen. Interviews, Notationen, Texte 1965-1994 [1995]. Edited by Gisela Gronemeyer and Reinhard Oehlschlägel. 2 ed. Köln: MusikTexte, 2005.  

Motte-Haber, Helga de la, and Akademie der Künste Berlin, eds. Klangkunst. Katalog Sonambiente, Festival für Hören und Sehen. München: Prestel, 1996.  

Neuhaus, Max. Sound Works. Ostfildern: Cantz, 1994.

Listening  

Blatter, Alfred. Revisiting music theory. Basic principles. 2 ed. New York: Routledge, 2017.  

Corey, Jason. Audio Production and Critical Listening: Technical Ear Training. New York - London: Focal Press, 2010.  

Fastl, Hugo, and Eberhard Zwicker. Psychoacoustics. Facts and Models. 3 ed. Berlin - New York: Springer, 2007.  

Toole, Floyed. Sound Reproduction: Loudspeakers and Rooms. Amsterdam - Boston: Elsevier (Focal Press), 2008.  

Roberts, Gareth E. From music to mathematics. Exploring the connections. Baltimore, MD: Johns Hopkins University Press, 2016.  

Roederer, J. G., H. J. Weitbrecht, J. Glatzel, and H. Rieger. The physics and psychophysics of music: an introduction. 4 ed. New York: Springer, 2008.  

Temperley, David. The Cognition of Basic Musical Structures. Cambridge, MA: MIT Press, 2004.  

Truax, Barry. Acoustic Communication. 2 ed. Westport, CT / London: Ablex, 2001.

White, Sylvia. Music as organized sound. An introduction to basic music theory. Lewiston, NY: Edwin Mellen Press, 1999.

Audio Technology  

Ballou, Glen M., ed. Handbook for Sound Engineers. Oxford: Focal Press, 2015.  

Döbereiner. Luc. Models of Constructed Sound: Nonstandard Synthesis as an Aesthetic Perspective. Computer Music Journal, MIT Press Journals, 2011. http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_a_00067

LucDobereiner¨ ModelsofConstructed Sound:Nonstandard SynthesisasanAesthetic Perspective

The term “standard approach” is used for dif-ferentiation. Its counterpart is the “non-standard approach,” in which “the computer acts as a sound-www.mitpressjournals.org

Giri, Maurizio. Cipriani, Alessandro. Electronic Music and Sound Design - Theory and Practice Volume 1. Contemponet, 2010.  

Giri, Maurizio. Cipriani, Alessandro. Electronic Music and Sound Design - Theory and Practice Volume 2. Contemponet, 2014.  

Roads, Curtis. Microsound. MIT Press, 2002.  

Toole, Floyed. Sound Reproduction: Loudspeakers and Rooms. Amsterdam - Boston: Elsevier (Focal Press), 2008.  

Wishart, Trevor. On Sonic Art. Routledge, 1996.  

Wishart, Trevor. Audible Design: A Plain and Easy Introduction to Sound Composition. Orpheus The Pantomime Ltd., 1994.  

Xenakis, Iannis. Formalized Music: Thought and Mathematics in Composition. Special issue of La Revue musicale, nos. 253–254. Paris: Editions Richard-Masse. 1963.

[emilie-julie]

Art Basel Miami - behind my desk. 

Foire ensoleillée - Chroniques d’une correspondante gelée dans cette ville aux grattes ciel enneigés. 

Jamais je ne suis allée à Basel Miami - pourtant Basel Basel fait partie de mes foires préférées, en raison de sa qualité évidente mais aussi de son histoire étonnante. 

Attention, je ne critique pas ABMB, tout d’abord car on ne juge pas quelque chose que l'on a pas vue ou vécue. AMBM me rappelle un peu FRIEZE NYC par ces oeuvres colorées et ses contemplateurs oisifs quelque peu agités. 

Voici mes coups de coeur et commentaires from behind my desk ...J'aperçois un joli Dubuffet chez Applicat Prazan, il me semble qu'il s'agit d’un Jennifer Guidi chez David Kordansky (à vérifier!), chez David Zwirner, j'adore le mobilier de Franz West et cette lampe qui me rappelle celle de Nacho Carbonel de Carpenters Gallery. Le Calder de Di Donna est elegant et gracieux, il est constitué d’éléments rouges et jaunes.. vivant et rayonnant. J'adore l'accrochage chez Francis M Naumann Fine Art, un Duchamp pixelisé, une aquarelle séduisante aux pivoines d'un joli rose poudré, j'aime ce mur rose qui met en valeur ces dessins et peintures à l'apparence d'oeuvres classiques. Le booth de Galerie Leme retourne mon esprit. Je suis subjuguée par les oeuvres de Sandra Gamarra et par leurs dispositions asymétriques. Ces cubes en miroirs, la présence de plaques d'or et de metal placées contre les murs, cet espèce de chantier éveille, une beauté parfaitement orchestrée. Les formes colorées accrochées au murs se reflètent dans ces cubes en miroir ils attirent la lumière, provoquent une distraction de la vision. Ce procédé qui pourrait alors sembler banal prend ici vie avec un dynamisme peu expecté. Chez Elvira Gonzalez, jaime ce Dubuffet très géométrique qui raisonne avec les formes en 2D de Robert Mangold. Les tonalités de bronze, de cuivre et d’acier de la toile de Dubuffet sont mise en constate avec ces formes découpées jaune, ecru , cuivre et argentées. J’en aime la construction géométrique, pas du tout ébouriffée comme le sont souvent les oeuvres tourmentées de l’art brut.

[pusteblumem-blog]

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