A sound installation titled Jericho Mouth was mounted at the Beijing Inside-Out Museum in 2013 by the American avant-garde composer and performer Ken Ueno. Drawing on the work of Richard Schusterman and Roland Barthes, this essay presents it as powerful example of acoustic somaesthetics in which the material body—in particular the voice emanating from the throat and guts rather than the lungs and breath—resists cultural sublimation
This thesis is about encounters with the experimental sonic arts—be that with ‘experimental’ styles ...
Synesthesia can be defined as the cross wiring of the senses where the stimulation of one sense trig...
Motor skill acquisition is a key element of playing Western classical music. The repetitive practice...
During the last ten years, somaesthetics has been increasingly applied in studies of music, sound, a...
This paper examines the ten-year history of somaesthetics – describing the field's origins and genea...
In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shust...
The Genius Loci exhibition asks how ten artists can explore sensations of landscape, how are experie...
The paper studies the phenomenon of synesthesia as an aesthetic category, adopted in Philosophy and ...
Inspired by recent productions in theatre, dance, music-theatre and the sonic arts, as well as by th...
Erwin Straus’ aesthesiological analysis of the voice-hearing modality can serve as a bridge between ...
This thesis inquires into the application of Richard Shusterman’s somaesthetics with respect to cont...
The file attached to this record is the author's final peer reviewed version. The Publisher's final ...
Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’...
Extoling and promoting listening is deeply ingrained, even on occasion raison d’être, in sound art p...
Amid recent moves toward sound as vibrational force, this article argues that hearing has a special ...
This thesis is about encounters with the experimental sonic arts—be that with ‘experimental’ styles ...
Synesthesia can be defined as the cross wiring of the senses where the stimulation of one sense trig...
Motor skill acquisition is a key element of playing Western classical music. The repetitive practice...
During the last ten years, somaesthetics has been increasingly applied in studies of music, sound, a...
This paper examines the ten-year history of somaesthetics – describing the field's origins and genea...
In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shust...
The Genius Loci exhibition asks how ten artists can explore sensations of landscape, how are experie...
The paper studies the phenomenon of synesthesia as an aesthetic category, adopted in Philosophy and ...
Inspired by recent productions in theatre, dance, music-theatre and the sonic arts, as well as by th...
Erwin Straus’ aesthesiological analysis of the voice-hearing modality can serve as a bridge between ...
This thesis inquires into the application of Richard Shusterman’s somaesthetics with respect to cont...
The file attached to this record is the author's final peer reviewed version. The Publisher's final ...
Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’...
Extoling and promoting listening is deeply ingrained, even on occasion raison d’être, in sound art p...
Amid recent moves toward sound as vibrational force, this article argues that hearing has a special ...
This thesis is about encounters with the experimental sonic arts—be that with ‘experimental’ styles ...
Synesthesia can be defined as the cross wiring of the senses where the stimulation of one sense trig...
Motor skill acquisition is a key element of playing Western classical music. The repetitive practice...