Wissenschaftliche Arbeit bedeutet nicht zuletzt immer auch das Lesen von geschriebenen Texten. Was aber geschieht, wenn diese Texte zum Klingen gebracht werden, wenn stummes Geschriebenes hörbar gemacht wird? Was geschieht mit den Texten, was mit dem Lesen, was mit mir? Welches Verstehen, welche Anschlüsse, welches Missverstehen und welche Abbrüche werden möglich, wenn etwas Geschriebenes in gesprochene Sprache übersetzt wird?
Dieser Feed dient mir als Sammlung vorgelesener Texte. Zur Arbeit in Seminaren, an eigenen Hörstücken, und vor allem der Praxis des Vorlesens. Lesen als Interpretation des Geschriebenen im Medium von Stimme und Gehör.
Diese Folge ist ein eingelesener Aufsatz für die Zeitschrift Soziologie der Deutschen Gesellschaft für Soziologie, im Rahmen eines Symposiums zu Medien der Soziologie.
Das vollständige Manuskript kann hier heruntergeladen werden.
Auf der Website experimentality.org finden Sie eine Liste soziologischer Podcasts die (nicht) erwähnt oder besprochen werden, sowie die Literaturhinweise aus dem Text.
Ich lese Kapitel “III. Die Falschheit der Welt” und Kapitel “IV. Die Fallstricke der Kritik” aus “Denken in einer schlechten Welt” von Geoffroy de Lagasnerie.
Quelle: Lagasnerie, Geoffroy de. 2018. Denken in einer schlechten Welt. Übers. von Felix Kurz. 1. Auflage. Berlin: Matthes & Seitz.
In this episode I read “How to think sonically: on the generativity of the flesh” by Holger Schulze. Schulze discusses the question of what it means to think sonically and what consequences must be considered for academic work on sound and sonic phenomena. But also: how must academic forms of text, writing and other forms of presentation reflect on these questions?
I originally read this text for the seminar “Writing culture – recording culture” I taught in the spring term of 2019 at the university of Bern.
Bibliography:
Schulze, Holger. 2017. How to think sonically? On the generativity of the flesh. In: Sonic thinking: a media philosophical approach, ed. by Berns Herzogenrath, 217–242. Thinking media. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc.
In this episode I read chapter 1: “Unlikely publics: on the edge of appearance” from the book “Sonic Agency” by Brandon Labelle. The book deals with the fascinating question of sonic agency – of what kind of agency becomes possible by and through sound and the sonic. LaBelle further develops a typology of ‘unlikely publics’, i.e. social formations and their contexts and conditions that have particular need for sonic agency (the invisible, the overheard, the itinerant, and the weak). The first chapter of the book seeks to give an introduction to the approach as well as the problems discussed. Unfortunately the language is unnecessarily complicating things; difficulties to follow the arguments cannot be attributed to the medium of reading out loud, but are already inherent in the written text.
I originally read this text for the seminar “Writing culture – recording culture” I taught in the spring term of 2019 at the university of Bern.
Bibliography:
LaBelle, Brandon. 2018. Sonic agency: sound and emergent forms of resistance. Cambridge, MA: The MIT Press.
In this episode I read Chapter 2: “Sonic compositions” from the book Recording culture by Daniel Makagon and Mark Neumann. This book can be understood as one of the most important reflections on the increasingly popular methods in ethnographic field work using recording technology. Besides this it is exceptionally well written. The second chapter discusses some genres and formats of academic but mostly non-academic audio works (soundscapes, soundwalks and sonic maps, radio diaries and audio essays, audio documentaries) and their relevance and possibilities as genres of academic discourse.
I originally read this text for the seminar “Writing culture – recording culture” I taught in the spring term of 2019 at the university of Bern.
Bibliography:
Makagon, Daniel und Mark Neumann. 2009. Recording culture: audio documentary and the ethnographic experience. Los Angeles: SAGE.
In this episode I read Chapter 1: “Writing Culture – Recording Culture” from the book “Recording culture” by Daniel Makagon and Mark Neumann. This book can be understood as one of the most important reflections on the increasingly popular methods in ethnographic field work using recording technology. Besides this it is exceptionally well written. The first chapter sheds some light on the context of the so-called “writing culture debate” as a context for equally important reflexions of recording practices as method and means of the study of culture.
I originally read this text for the seminar “Writing culture – recording culture” I taught in the spring term of 2019 at the university of Bern.
Bibliography:
Makagon, Daniel und Mark Neumann. 2009. Recording culture: audio documentary and the ethnographic experience. Los Angeles: SAGE.
In this episode I read James Clifford’s introduction from the famous essay collection Writing culture: the poetics and politics of ethnography edited by James Clifford. In itself the chapter might be one of the most important texts of the so called “writing culture debate”.
I originally read this text for the seminar “Writing culture – recording culture” I taught in spring of 2019 at the university of Bern.
(As a comment: I know, this is not very well read, yet it was my first attempt using this approach for working with seminar texts of my own seminars. In this context I find it worth documenting. Maybe I will add another attempt of reading this text at a later point in time. So far I find it refreshingly irritating and healthily humbling to hear this result. At least it reveals the aspect of reading out loud as interpretation as seen from the perspective of annoyance and imperfection.)
Bibliography:
Clifford, James. 1986. Introduction: Partial Truths. In: Writing culture: the poetics and politics of ethnography ; a School of American Research Advanced Seminar, ed. by James Clifford, 1–26. Berkeley, Calif. [u.a.: Univ. of California Press.