Dave Beech (Valand Academy, Gothenburg, member of the art collective Freee, writer and Professor of Art)
Revolting Places: Art’s Apparatus and Radical Social Transformation
Chloë Alaghband-Zadeh i(Temporary University Lecturer at the Faculty of Music, University of Cambridge)
Beech’s recent book Art and Value, published by Brill 2015, was shortlisted for the Deutscher Memorial Prize. His work has been exhibited at the Istanbul Biennial and the Liverpool Biennial as well as BAK, Utrecht, Wysing Arts, Cambridge, SMART Project Space, Amsterdam, the ICA, London, Centro Cultural, Montehermoso among others. He is a regularly contributor to Art Monthly, co-authored the book The Philistine Controversy, Verso (2002) with John Roberts, edited the MIT/Whitechapel book Beauty, and is a founding co-editor of Art and the Public Sphere journal.
Chloë Alaghband-Zadeh is a Temporary University Lecturer at the Faculty of Music, University of Cambridge. Her research is on North Indian classical music, which she studies through a combination of ethnography and music analysis. She received her Ph.D. from SOAS, University of London (2013), for a dissertation on the semi-classical genre ṭhumrī. She is currently working on a project on expert listening and connoisseurship in North Indian classical music.
"At a typical North Indian classical concert, audience members can be remarkably active and noisy; music connoisseurs, or “rasikas”, are especially conspicuous, commenting out loud or gesturing whenever they hear something they like. Based on ethnography and interviews with musicians and music-lovers in Delhi, Mumbai and Pune, I explore what it means to listen in this context. I show how embodied listening practices are shaped by interrelated discourses about music, music history and about what it means to be a good listener; but I also show how they entail particular ways of experiencing musical sound, such that listeners orient themselves to certain features of the performance over others. Contributing an ethnographic study of North India to the diverse body of theoretical literature that has recently emerged on listening, my aim is to highlight the sociality of how people listen to music. I argue that ways of listening are weighted with meaning, value and ideology; that they are tied to issues of prestige, status and social class; and that they are a means through which individuals perform social identities".
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Part of the Cambridge Interdisciplinary Performance Network (CIPN), series.
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