CALL FOR PAPERS
Listening Sonic Modernity in Latin America
Soundscapes, Aftersounds, and Phonographies Laguna, Abreu, eds.
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Theorizations of Latin American modernity through the production, reception or dissemination of sound.
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Music as a laboratory for experimentations in modernity.
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The exploration of sounds that resurrect hidden colonial strata.
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The emergence of memories of suffering through sound.
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Sound projects of indigenous self-determination.
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The violence within the soundscapes of colonial and modern Latin America and its pervasiveness in the present.
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Mapping sound and sonic experiences in the archives.
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The relationship of the aesthetics of music and the contexts of its consumption.
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Voices of resistance to the media’s neoliberal grip on the increasingly globalized modern nation-state.
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Sonic circulation in Latin America and the role of periodicals and memories in the construction of sonic canons.
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The sounds of the “transnationalization of the Black condition” as a constitutive moment for modernity (Mbembe).
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Thinking beyond the ocularcentrism of racial discourse to start building projects of hearing through race.
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Sonic racial archaeologies in the constitution of modern national subjects.
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If as Jonathan Sterne has suggested there was an “Ensoniment” simultaneous to the Enlightenment, what are the “conjunctures among ideas, institutions and practices [that] rendered the world audible in new ways and valorized new constructs of hearing and listening” in Latin America?
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The fluid transnational practices of music forms that are no longer inherently tied to particular ethnic groups (Hesmondhalgh and Negus): i.e. Latino punk as a way of resistance that strengthens emotional bonds and sense of neighborhood belonging in South Central and East Los Angeles.
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The maneuvers between reason, resonance, and space as polyphonic trajectories in the emergence of modernity (Erlmann).
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The use of mass communication technologies as instruments of sonic modernization and deployment of nation building soundscapes.
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The transformation of sound technologies from an instrument of colonial civilization into a voice of subaltern agency.
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Forms of aural dissidence: i.e. Colin Kaepernick’s kneeling against the U.S. national anthem as a symbol of oppression and subjugation.