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How can fictocritical writing strategies (particularly first person…
How can fictocritical writing strategies (particularly first person perspectives) enhance our understanding of sonic art and effectively contribute to the field sound studies
first person perspective - tomographic approach - , embedded phenomenology of listening
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"What does it mean to exist according to listening, for it and through it, what part of experience and truth is put into play? " Nancy p5
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what is sonic art? - draws on the idea of reorganisation of conscious perception... to describe this conscious perception requires a first person perspective....
what is sound studies - approaches to exploring the experience of sound and listening - scope - concentrating on sound studies that are occupied with sound art
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how can fictocritical writing strategies be employed to enhance our understanding of sonic art and be an effective addition to sound studies.
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Conceptual framework: interplay of objective and subjective from feminist perspective - speculative realist...
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Notes: Can a tomographic approach expressed through ficto-critical forms enhance our understanding of sonic art - What can ficto-critical writings about sonic art that employ a tomographic approach (a first-person perspective) add to sound studies. - What are the benefits of a ficto-critical approach to sound studies - how does a first person perspective expressed within ficto-critical writing offer a valuable contribution to soundstudies --
lit review -
what is sonic art and sound studies
embedded embodied ist person perspective of listening (phenomenology)
ficto-critical writing and its effects on theory
digital ergodic formats for this writing
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sometimes the first person does not manifest as an i within a fictocritical text but rather as an embrace of a "I" in the shadows that is sharing a creative impression...evidently a subjective one.
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how can first person perspective writing strategies within sound studies enhance our understanding of sonic art?
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the interplay of subjective and objective positional strategies within fictoricritical writing about sonic art,
how can the interplay of subjective and objective positions within fictocritical writing
enhance our understanding of sonic art and effectively contribute to sound studies.