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This essay examines the depictions and interpretation of auditory experiences in a sample of Jewish diaries that were written in underground bunkers, earthen dugouts and cellars beneath urban centres in and around Warsaw and in the rural region of East Galicia in World War II. Concepts from musicology and sound studies are applied to model the subterranean dugouts as instances of "aural architecture" set through with perforations channelling the flow of sound from the outside. This highlights and contextualizes important aspects of how Jews in East Galicia inhabited their shelters. In particular, it draws attention to various sound-related bodily techniques and to more complex practices, such as surveilling "the outside" and the adapted routines of homemaking that shaped daily life in these hiding places. The essay further posits an interrelationship between the acoustic conditions in the hideouts and the imaginative descriptions employed by the authors to describe their hideouts. Examining what the diarists could hear of the outside world, and how it sounded to them in their shelters, helps account for marked differences in how they made sense of their current life conditions. Depending on both the nature of the sounds that could be heard, and their penetration and spatial localization underground, the diarists interpret the confines of their hideouts by using metaphors variously underlining protection and social exclusion.

This article investigates the politics of sensing through the productions of aurality enacted at tourist and heritage venues in the Black Hills of South Dakota. Drawing on six summers of fieldwork with tourist producers in the region, the article traces how aural experiences and stances are used to make and manage frontier worlds for
tourists. It argues that the exploitation and colonization of local Lakota lifeworlds is crucial to producing frontier experiences and that aural modes are the most powerful and subtle means to managing these experiences. It introduces three experiments to
critically engage how hearing and listening are shaped along racial lines at these venues and argues for the necessity of more artistic approaches to ethnography. Ultimately, the article claims that anthropologists must grapple with both the representational and sensorial politics of their presently embodied practices and future knowledge productions.

This paper describes an experiential speechreading course that was designed to provide hearing-impaired students with real-life communication experiences. The course, intended to function as a supplement to traditional speechreading courses, was evaluated with a self-evaluation questionnaire completed by students who took the course and by a matched control group. Results indicate that the course was effective in increasing student self-perceptions of communication success in real-life situations.

"In this article, I highlight the sonic disciplinary regimes that form the backdrop of Paule Marshall's The Fisher King. Marshall's final novel chronicles the climax of a generations-long antagonism within a black diasporic family that coalesces around one character's, Sonny-Rett's, career as a jazz musician. Sonny-Rett's exceptional musical talent renders him the target of overlapping regimes of domestic and state regulation and discipline. His alienation from his communities follows the condemnation of jazz in the interwar period as too obscene, flagrant, and undisciplined to have a place in national culture in both the United States and France. By examining the inter- and intra-community fissures that form around the maintenance of a respectable soundscape—and thereby obedient and respectable black subjects—I argue that Marshall calls attention to the soundscape as a critical frontier in struggles to dismantle global anti-blackness. By casting black cultural production as improper and anti-national, black subjects are obliquely targeted for exclusion or extermination under the guise of seemingly neutral regulations that indict music and musical venues rather than subjects.This work underlines Marshall as a forerunner of later Caribbean women writers—such as Erna Brodber and M. NourbeSe Philip—who view decolonization and struggles against anti-blackness as projects that require broad, international black solidarity, rather than solely national or regional affiliation. Sonny Rett's expulsion from his home, exile from his nation, and death as an expatriate in Paris at the hands of the police signal the pressures of national belonging; conversely, his live performances elicit aural experiences of solidarity with his audience. For Marshall, jazz both links and divides Afro-diasporic communities who grapple with the often-conflicting demands of black middle class respectability and liberatory possibilities of black solidarity."The Profane Ear" unfolds in three parts: First, I examine how Sonny-Rett is presented as a unique aural subject whose powers of hearing are viewed as both profound and "profane". Next, through close attention to Sonny Rett's mother's home, I show how domestic spaces in the novel become sites of alienation and sonic regulation whose tactics of discipline borrow from military and legal discourses, linking them with the state. Finally, by showing how the linked geographies of New York and Paris in the interwar period enforced similar laws to restrict black jazz musicians, I present Sonny-Rett's decline and death as exemplary of the link between global anti-blackness and soundscape regulation."

This innovative study opens up a new area in sociological and urban studies: the aural experience of the social, mediated through mobile technologies of communication. Whilst we live in a world dominated by visual epistemologies of urban experience, Michael Bull argues that it is not surprising that the Apple iPod, a sound based technology, is the first consumer cultural icon of the twenty-first century. This book, in using the example of the Apple iPod, investigates the way in which we use sound to construct key areas of our daily lives. The author argues that the Apple iPod acts as an urban

This article examines the multisensory nature of everyday life and the ways in which sound shapes experiences of community, presenting findings from a research project, 'Place and belonging: What can we learn from Claremont Court housing scheme?' Whilst acknowledging the multisensory nature of perception, the discussion focuses on sound in particular, exploring the different ways that sound (or lack of it) informed residents' neighbouring practices and sense of community. Despite general fears of 'loss of community' due to increasing individualisation, the findings show the continued importance of neighbouring relations, which point to varied types of community attachment. Cases are presented from the data focusing on the themes of nostalgia, uncertainty and feelings of difference. These themes provide telling insights into the ways in which community is experienced and how people living in the same housing scheme interpret sounds differently. All residents were exposed to similar sound ecologies, but their significance and meanings were understood in vastly different ways. The article offers an original contribution by arguing that sound is an important dimension of everyday life in urban settings, which is related to affective and emotional dimensions of community, which have, as yet, been glossed over in the sociological literature.

Picking up on tenuous and culture specific notions such as the mušo , this essay examines the nature and parameter of its artistic complexity, and its visual, aural and linguistic sophistication that play out in forms of collective expression and performance. Furthermore, this essay also attempts to uncover female agency in cultural practices such as the mušo and counteracts the absence of women's history, identity and historical experiences of citizenship in Ethiopian history. In so doing, this essay calls for a new kind of intellectual enterprise that is intimately engaged with the archives, that brings forth the riches of interiority, and that ultimately argues for a critical body of thought. The obsession with the "modern" has razed customary cultural and social fabrics such as the mušo . The need to excavate our archives is paramount if we are to place modern Ethiopian history in proper perspective.

AbstractInternational students in Canadian universities are deemed valuable immigrants for the Canadian nation as they are equipped with formal credentials easily recognizable for local employers. Despite having desired technical skills and knowledge, the English of these students is perceived as hindering their ability to voice this expertise. This then forces international students to think about how language can affect their employability during their studies. Drawing on a narrative analysis of the experiences of 14 international students in Ontario and focussing on speech accent, this article explores how they make sense ofaural employability, the ability to be heard as employable, through participating in Canadian higher education. The students connected aural employability with 'sounding Canadian' throughraciolinguistic sensemaking, a type of sensemaking that interprets the linguistic world with various ideologies of whiteness. Such sensemaking speaks to how Canadian universities, as sites of workplace language learning, cannot be divorced from the white settler logics that pervade these institutions.

This article argues that pervasive drama has the capacity to illuminate the cultural politics of urban space, by highlighting microsociological power relations that shape everyday movement. It suggests that the medium does this in two ways: firstly, through its use of "pervasive sound narratives" that actively defamiliarize urban space and, secondly, through the auditory technologies that disseminate this narrative, which draw attention to everyday engagements with mobile media that are ordinarily beneath our notice. These arguments respond to Anderson's call for further research into the "productive listening potentials" of aural narrative (Anderson 2012), by exploring specific ways that pervasive drama can foster more meaningful and politically-engaged experiences of place. Drawing on The Memory Dealer as a case-study, narrative extracts and focus group findings from the drama are used to illustrate pervasive drama's specific, politicised "listening potentials".

This article argues that pervasive drama has the capacity to illuminate the cultural politics of urban space, by highlighting microsociological power relations that shape everyday movement. It suggests that the medium does this in two ways: firstly, through its use of "pervasive sound narratives" that actively defamiliarize urban space and, secondly, through the auditory technologies that disseminate this narrative, which draw attention to everyday engagements with mobile media that are ordinarily beneath our notice. These arguments respond to Anderson's call for further research into the "productive listening potentials" of aural narrative (Anderson 2012), by exploring specific ways that pervasive drama can foster more meaningful and politically-engaged experiences of place. Drawing on The Memory Dealer as a case-study, narrative extracts and focus group findings from the drama are used to illustrate pervasive drama's specific, politicised "listening potentials".

This chapter reflects on an interdisciplinary practice research project, The Verbatim Formula (TVF), based at Queen Mary University of London, consisting of a series of residential workshops with care-experienced young people using verbatim theatre practices. Drawing on feminist care ethicist Nel Noddings' analogy between aesthetic engagement and the art of caring, the authors reflect on the shared values and aesthetics of acts of care and participatory practices, and how these inhere in the attentiveneness, attunement and receptivity involved in performing and receiving verbatim material using headphone theatre technique. The chapter incorporates testimonies from its care-experienced co-researchers and draws on Joan Tronto's argument that there is a radical need for an intervention into the dynamics of power in society that ensure that those for whom the structures of care are least effective are heard and attended to. In acknowledging the 'ugliness' of caring and the ongoing labour of attunement, listening emerges in TVF both as an aesthetic but also as a care-based participatory and political practice, that aims to empower care-experienced young people to intervene in the structures that represent them and to support adults to honour their experiences and needs.

International audience ; How are sociotechnical imaginaries and ontological assumptions about sound related to affect and conflict spaces? What do sociotechnical imaginaries tell us about social and individual control of sonic environments? Why is it important to think about ontological assumptions of sound when recovering aural experiences of the past in archives? The three books under consideration in this review article address these questions in different ways. They explore the use of media devices to produce affect and social relations, the role of categories of music and noise in the control of urban spaces, and the politics of archival sounds and silence.

The author argues that Michael Polanyi's philosophy of science can be understood as an (unconscious) attempt to recapture elements of experience largely forgotten or repressed in modernity. Specifically, the author argues that Polanyi's epistemology appears to draw on elements of oral—aural experience that have been relatively ignored by the heavily visual sensory orientation typical of modern Western societies. The author does this by first deriving the primary features of the modern objectivist conception of knowledge from Polanyi's critique of objectivism and then using the anthropological literature on the differences between oral and literate cultures to demonstrate that these same aspects of the objectivist paradigm correspond closely to typical features of literate, visual consciousness while Polanyi's alternative formulations correspond to a more oral—aural orientation.

International audience How are sociotechnical imaginaries and ontological assumptions about sound related to affect and conflict spaces? What do sociotechnical imaginaries tell us about social and individual control of sonic environments? Why is it important to think about ontological assumptions of sound when recovering aural experiences of the past in archives? The three books under consideration in this review article address these questions in different ways. They explore the use of media devices to produce affect and social relations, the role of categories of music and noise in the control of urban spaces, and the politics of archival sounds and silence.