Study Group on Images, Sounds and Technologies (GEIST)
SPEAKERS
SHANNON GARLAND
Department of Ethnomusicology at the University of California (UCLA)
The new research by Dr. Garland concerns the articulation of musical values and transnational paradigms of investment in the cultural economy. A part of this research seeks to understand the expansion of music and business conferences within music festivals, such as Primavera Pro, SIM São Paulo, and other initiatives of music business associations in live performance contexts. Another aspect of this research project intends to analyze the actions of the companies Quero! and Sofar Sounds in relation to intimacy, affection and forms of social control. The project about We want! addresses the production of feelings of social intimacy through crowdfunding campaigns for local performances, transnational tours and festivals. The Sofar Sounds project, in turn, conducts multi-sited ethnography to understand the relationship between the infrastructures of the Start-Ups business model and the reproduction of certain cultural values of intimacy and listening.
J. MARTIN DAUGHTRY
Department of Music at New York University (NYU)
In recent years, he has been developing research on the social dynamics of sound and listening in different contexts. His work dialogues with Ethnomusicology, with Sound Studies, with the Anthropology of the Senses and with the ethnographic study of violence. His main research projects – on the sonic dimension of the Iraq War; about musical practices in the Soviet Union before and after its end; on music after the September 11, 2001 attack; and on the multifaceted significance of voice and vocality – have a common dimension: they explore the capabilities and limits of sound cultures in a complex world of often violent change. The focus on violence, implicit in several of his works, has intensified in recent years, as has his engagement with Sound Studies. His research focuses on the following topics: a) the effectiveness and fragility of cultural processes; b) the phenomenology of listening; c) the persistence and transformation of sound practices that have been shown to be relatively consistent everywhere in the face of social disruption.