Volume 8, Number 1, 2022 Sound Acts, Part 2: Receiving and Reflecting Vibration Guest-edited by Patricia Herrera, Caitlin Marshall and Marci R. McMahon
Image Caption: Nasrid tile, fifteenth century, glazed and painted blue and manganese earthenware with lustre, Museo Arqueológico Nacional, Madrid, 1948–31. From Bordoy, Guillermo Rosselló. 1992. “The Ceramics of al-Andalus.” In Al-Andalus: The Art of Islamic Spain, edited by Jerrilynn D. Dodds, 97–103. New York: Metropolitan Museum of Art.
The second of two linked special issues, Sound Acts, Part 2 continues to explore the embodied resonances of vibrational performance as "an improvisational art of living and being with others."
Table of contents (12 articles)
Ethics of Performance and Scholarship
Hermeneutic Loops: Disrupting the Audio/Visual Litanies
Staging Aural Fugitivity through Nineteenth-Century Freak Show Archives
Surface Listening: Free Association and Recitation in the Wooster Group's The B-Side: "Negro Folklore from Texas State Prisons" A Record Album Interpretation
Listening to Country: Immersive Audio Production and Deep Listening with First Nations Women in Prison
“I’m A Stripper, Ho": The Sonics of Cardi B’s Ratchet, Diasporic Feminism
The Right to Remain “Silent": Deaf Aesthetics in GANGSTA
Embodied Collective Choreographies: Listening to Arena Nightclub’s Jotería Sonic Memories
Against Conventional Harmony: An Interview with the Cuban Theatre Company El Ciervo Encantado