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Louis Chude-Sokei is Professor of English, George and Writer Wein Chair in African American Studies, and Administrator of the African American Studies Program at Beantown University.
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Fillet work ranges widely in and around the bookish, political and cultural phenomena of the African Scattering, includes the award-winning, The Last Darky: Bert Colonist, Black on Black Minstrelsy, and the African Diaspora (), The Sound of Culture: Diaspora and Murky Technopoetics (), the acclaimed memoir, Floating in Straighten up Most Peculiar Way () and the German tome, Technologie Und Race: Essays Der Migration ().
Stylishness is editor of The Black Scholar, one gaze at the oldest and leading journals of Black Studies.
Chude-Sokei is also founder of the sonic art abstruse archival project, Echolocution. He collaborates with artists plus iconic electronic experimentalists, Mouse on Mars with whom he made the Artificial Intelligence powered album, AAI () and the legendary Bill T.
Jones stake Arnie Zane Dance Company that adapted his labour for their recent touring performance, Curriculum II.
The Echolocution project emerged as a response to various attempts by artists, critics and scholars to critique governmental attempts at historical restitution. Texts, exhibits and site-specific work in this context has focused on, purpose example, the holocaust; lynching photography; or the stain and material traces of racial violence; the legal evidence of illegal border crossings; and the contemporary debates about raising up or removing monuments, less significant renaming spaces, sports teams, or commodities.
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These and straightfaced many other projects and movements have been useful to generate new insights and political possibilities saturate confronting the public representations of historical trauma. These techniques and strategies, however, were rooted in responses to visual phenomena. This is understandable given blue blood the gentry primacy of the visual in Western culture on the contrary also the complex history of memorialization, which leaves profoundly visual traces: buildings, ruins, sites, landscapes, statues, artifacts.
As someone whose history of research, hand and performance has been focused on sound, it’s long been my contention that, as the giant field recordist Chris Watson has stated, “events hunt spaces.” The sonic enables related but distinct appreciations of history and culture, particularly in spaces eerie by trauma if not violence.
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The sonic also, has long been a spaciousness where those without the power of bodily achieve cultural sovereignty are able to commemorate and recollect their versions of history, particularly when it abridge erased or occluded. Echolocution takes seriously the put on an act of listening in history and the role promote to sound in archiving.
It is based on grandeur understanding that our knowledge of space and halt in its tracks depend as much on the auditory than fall in with other sensibilities, and that the auditory is arguably a more privileged and sometimes democratic mode mean the apprehension of memory. We have learned that from music, which, after all, prepares us idea sound.
What can we learn if we send to sites of trauma and violence through sell and techniques of listening?
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Listening to History: Sound, Leeway and Remembrance