sensory infrastructures '23
listening for RUPTURE: a concept map
listening for RUPTURE: a concept map
Berlant, Lauren. On the Inconvenience of Other People. Durham: Duke University Press, 2022.
"Infrastructures are productive, durationally extensive spaces for the pliable forms of life that people use to make rules and norms and other means of extending the world. Infrastructures do not honor the distinction between the productive and the reproductive because they follow the elastic logic of cluster, of assemblage. Rules are stretchy and norms are porous. In our notice of this capacity for structural distortion and disturbance, infrastructural thought is a way of coming to analytic terms with the complex material and discursive dimensionality, temporality, and use value that constitute the disturbed, yet ongoing, forces of the ordinary...The affectivity infrastructure generates...specifically involves the sensing of the dimension and extension of what we might call organized air, the projected atmospheres sustained by collective practices" (23).
"In a crisis, what passed as 'structure' passes into infrastructure. The glitch of the present that we link to economic crisis, for example, fans out into other ongoing emergencies...Terms for transition provide conceptual infrastructures for living change as something other than loss, but as part of the protocols or practices that hold the world up...writing the long middle without drowning in it...allowing us to see transitional infrastructure as a loose convergence that lets a collectively stay bound to the ordinary even as some of its forms are fraying, wasting, and developing offshoots" (24-25)...
Srnicek, Nick, and Alex Williams. Inventing the Future: Postcapitalism and a World Without Work. London: Verso, 2016.
[N]eoliberalism creates subjects. Paradigmatically, we are constructed as competitive subjects - a role that encompasses and surpasses industrials capitalism's productive subject...Even if you do not buy into the ideology, its effects nevertheless force you into increasingly precarious situations and increasingly entrepreneurial inclinations. We need money to survive, so we market ourselves, do multiple jobs, stress and worry about how to pay rent, pinch pennies at the grocery store, and turn socialising into networking. Given these effects, political mobilization becomes a dream that is perpetually postponed, driven away by the anxieties and pressures of everyday life...Neoliberalism constitutes our collective common sense, making us subjects whether we believe in it or not" (64-65).
[T]he left can learn from the long-term vision, the methods of global expansion, the pragmatic flexibility and the counter-hegemonic strategy that united an ecology of organisations with a diversity of interests [around neoliberalism]. The demand... is ultimately a call to build anew the hegemony of the left" (67).
"As the hegemonic order predicated upon decent and stable jobs breaks down, social control is likely to revert to increasingly coercive measures: harsher workfare, heightened antagonisms over immigration, stricter controls on the movement of peoples, and mass incarceration for those who resist being cast aside...These trends portend a crisis of work, and a crisis of any society based upon the institution of wage labor...Political parties and trade unions appear ignorant of the crisis, struggling to manage its symptoms...which direction the crisis of work takes is precisely the political struggle before us" (104-105).
Easterly, William. “Chapter 8: Tales of Increasing Returns: Leaks, Matches, and Traps.” Essay. In The Elusive Quest for Growth: Economists’ Adventures and Misadventures in the Tropics. Cambridge , MA: The MIT Press, 2001.
"Within the United States, there are five well-defined poverty clusters: (1) inner-city blacks, (2) rural blacks in the Mississippi delta, (3) native Americans in the West, (4) Hispanics in the Southwest, and (5) whites in southeastern Kentucky" (163).
Map - union membership here and in major cities - final project IDEAL.
Week 3 - 9/25 - "Listen"
Inspo: Weheliye, Alexander Ghedi. 2005. Phonographies: Grooves in Sonic Afro-Modernity. Chapter 4: Consuming Sonic Technologies
Do the Right Thing (9/10) Movie CLIP - Fight the Power (1989) HD
Week 4 - 10/02 - "Listen" (No class + observation exercise)
appeasement to stifle the rupture
North, Douglass C., John Joseph Wallis, and Barry R. Weingast. Violence and Social Order: A Conceptual Framework for Interpreting Recorded Human History. Cambridge: Cambridge University Press, 2009.
"A full account of human behavior would begin by asking how the mind deals with the process of change. A necessary preliminary is to understand how the brain intercepts signals received by the senses and how the mind structures the result into coherent beliefs...How do we think about social processes when individuals, at best, have a limited understanding of what is happening to them as they continue to confront new experiences and novel situations that require an awareness of the dynamic nature of the process of change in which they are participants" (251)?
This moment on the map represents my own experience of "rupture" in conceptualizing this project. After emailing back and forth & Zooming with Dana, I really began to lean into the "sensory" aspect of not only the class, but also the content I wanted to work with for this project. While I initially wanted to consider three different fields of "modern" service labor - creative work, food service work, and sex work - I soon came to the conclusion that I couldn't center the sensory and keep such a wide breadth of topics in the final project. I decided to move forward with the sex work avenue, considering the ease with which I was able to curate movies/TV through which to analyze the domestic sphere and the ways in which wives and sex workers are similarly disenfranchised. This decision led me to the (still-evolving) research question: In what ways does a break in the silence that surrounds sex work reveal the unhappiness implicit in the domestic worlds that this silence has been constructed to protect? (To be as clear as possible, the sense I will be focusing on is sound.)
Povinelli, Elizabeth A. “In the Event of Precarity ... A Conversation with Lauren Berlant.” Essay. In Routes/Worlds. London: Sternberg Press, 2022.
"What we [Povinelli & Berlant] have always seen together is the rich resource in relationality, richer than family and hoarded money. We have always seen together that the worst suffering and the most unbearable precarity is in the radical individuality sold as liberal freedom, where people imagine that competition is what's natural while relations that build worlds are exceptional, like dessert" (103).
"[T]he phrase 'becoming-event' actually points to...the moment when peopled places gather whatever creative energies they have left to derange and arrange these kinds of flattening nothings into charging somethings" (105).
Everyone is stressed.
Stress is a force producing the "flattening nothing" of Carmela's life as a housewife.
The Sopranos: Whitecaps, S4E13 (2002) | Tangerine (2015) | Shiva Baby (2021) |
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4 significant phone calls - embodied & disembodied voices | swelling classical music motifs with scene changes | phone buzzing / disembodied voice of mother |
intense fighting surrounding intrusion of affair into domestic sphere | car wash [sounds] obscuring sex [sounds] | awkward fluctuations of sound - distance and closeness (recurring silent glances across the room) |
intense silence surrounding decision to separate | baby crying (motif) | baby crying (motif) |
Preliminary soundscape
Whitecaps (2002) | Tangerine (2015) | Shiva Baby (2021) |
---|---|---|
7:44-8:00 - Phone call #1. We only hear Tony; he's talking to his realtor about a house he wants to buy for his wife. Brief. | 3:03-4:25: Alexandra informs Sin-Dee that her boyfriend - who is also her pimp - has been cheating on her while she's been in prison. (Drag music, heels clacking) | Opening (0:00): Ominous music fades into sex noises fades into phone buzzing; after a few beats, VM from Danielle's mom. |
17:14-18:41: Phone call #2. Carmela's voice only; they got the house. The tranquil sounds of the ocean score the scene as the whole family goes to visit the beachfront property. | 7:45-7:57: Alexandra convinces Sin-Dee to stop looking for her cheating boyfriend. Instead, Sin-Dee decides to hunt for the girl he's been cheating with. (Dubstep music, heels clacking) | 12:11-15:30: Danielle silently notices Max across the room while her mother is talking to her. Ominous music resumes. Soon, Danielle is conversing with Max & her parents about jobs. |
19:43-20:35: Phone call #3. AJ answers; Tony's mistress, Irina, is on the other line. She asks to speak to Carmela. AJ yells for his mother, who picks up on the other end. When Irina introduces herself, she hangs up, harrowed. | 35:25-37:35: Alexandra and her client, Razmik, a taxi driver, go through the car wash for privacy during a rendezvous. It's silent inside the car as it proceeds through the car wash, which scores this scene. | 18:10-18:45: Danielle silently overhears her parents talking with Max about his family. A bombshell is dropped, and she starts choking on her bagel. |
20:55-22:05: Phone call #4. Irina calls back, and this time Carmela answers right away. | 46:00-46:38: Razmik celebrates Christmas with his wife and her extended family, who all speak Armenian. | 32:10-35:56: Danielle's mother pulls a silent Danielle to Max and his wife, in hopes that the wife will be able to get Danielle a job. As soon as Danielle approaches, their baby begins to cry. End scene when Kim and Danielle compare bracelets (ominous music begins again)**, Max receives a bunch of text messages, and he drops his phone. |
22:05-27:25: Tony listens to music in the car as he comes home to a raging Carmela. When she finally talks to Tony face-to-face, she seems hysterical. She doesn't calm down until she asks him to leave. | 52:20-53:53: Razmik decides to go to work again, to his family's dismay. His excuse is that he needs to make more money; really, Alexandra has told him that Sin-Dee is out of jail, and he wants to find her. | 1:01:49: Right after Max and Danielle break it off, Kim appears in the doorway with their baby to tell him it's time to go. Silence from everyone. |
38:41-40:10: Carmela and Meadow have a quiet morning conversation at the table about the family she thought she grew up in, and the future she imagined for the family she might one day have on her own. When Meadow considers Carmela's sacrifices, she becomes angry and runs away. (An emotional reaction to the illusion/"domestic imaginary" being broken; Carmela didn't break it.) | 1:01:18-1:02:29; 1:07:27-1:08:20: Razmik's mother-in-law sneaks out into a cab and begins speaking Armenian to the cab driver, asking if he knows her son-in-law. The driver attempts to locate Razmik - only to discover that he is not scheduled to work that night. She asks how well he really knows Razmik, and he drives her away in silence. As he agrees to take her to his colleague, the music intensifies; it sounds like a chase. | 1:03:45: Kim forces Danielle to hold the baby for her. As soon as she is passed to Danielle, the baby starts crying. Max soon enters the scene, holding out his hands to collect the baby. In the confusion of handing over the crying baby, Max and Danielle break a vase. This causes Danielle to have a panic attack in the middle of the shiva. She says, "I don't know what I'm going to do." |
50:48-55:25: Things get increasingly heated as Carmela and Tony discuss imaginaries versus realities of their life together. | 1:09:38-1:15:30: Chaos at Donut Time as all of the characters collide. | 1:11:18-end: Danielle's dad drives everyone home. |
1:08:03-1:10:59: Fragile words, pregnant pauses, and eventual silence as Tony gathers the family to confirm his & Carmela's separation. | 1:21:55-1:22:55: Back at home, Razmik sits alone in silence. |
Whitecaps x Observation Exercise 2 (probs)
Character guide: Tony, a mafia boss, is married to Carmela, who stays at home. They have two children, Meadow and AJ. Irina is Tony's mistress.
Tony to realtor; one-sided; tension level 2/10 (always some tension in Tony's voice)
Carmela to realtor; one-sided; tension level -5/10 (she's elated)
AJ to Irina (both are seen); AJ to Carmela (only AJ seen); Carmela to Irina (both are seen); tension level 9/10
Carmela to Irina (both are seen); something of an actual conversation is had; tension level 5/10
Third phone call in the episode - AJ on one line, Irina on the other - first where both interlocutors are pictured / Carmela's disembodied voice calls out "Who is it?" when AJ transfers the call - when he hears Carmela's voice, he hangs up, and Irina speaks: "I used to fuck your husband" / Shock, silence, Carmela hangs up / Phone rings again moments later / Irina tells Carmela that they share "sadness in common" - Tony has had an affair with Irina's cousin / Carmela's response: Silence. Then, "You piece of shit." / Irina's retort: "Yes, I'm a piece of shit...So if you can, imagine where you are in the pecking order." / Carmela hangs up / Silence
Immediate next scene / Rock music blasts from the car as Tony pulls up / Clanging and banging as Tony drives over his gold clubs (which Carmela has thrown into the driveway) / Music continues playing as Tony exits the car / He calls Carmela's name as he enters the house / Carmela screams at Tony when he asks what is going on / Carmela locks herself in the bedroom, silent and hidden as Tony asks "what he did" / Finally Carmela opens the bedroom door to explain, voice quivering: "You have made a fool of me for years with these whores. Now it's come into our home?" / Carmela is hysterical; Tony puts a hand on her shoulder; she slaps it away, screaming, "Get your hands off of me." / Carmela's voice calms when she says she wants a separation / But then she starts sobbing
Conversation begins calmly on both ends / Carmela reminisces on what she initially saw in Tony / Tony: "Who the fuck did you think I was was when you married me? You knew my father...where do you get off acting all surprised and miffed when there are women on the side? You knew the deal." / Carmela: "You really don't hear me, do you? You think it's all about the things..."/ Carmela reveals her limerence crush on Tony's close friend, explaining her emotions toward him calmly, but in precise detail / Tony comes at Carmela, but punches the wall 3x instead / Now they are both screaming at one another ///**Carmela is explaining her feelings; Tony is threatened by them
AJ is watching TV / Tony and Carmela are in the kitchen / Tony tells AJ to turn off the TV and join the convo; he does; Tony starts calmly / Meadow comes down the stairs, into the kitchen, asking, nervously, "What's going on?" / Pregnant pause / Tony: "It's probably better if I don't live here anymore." / Pregnant pause / Hugging, reassurances, and calm voices as the kids ask questions / Meadow cries silently in her room
Character guide: Danielle is a last-year college student, majoring in gender studies. Max is her sugar daddy, who thinks she is majoring in business. Kim is Max's wife. Mom and Dad are Danielle's parents. They all find themselves together for the first time at a shiva reception.
Danielle silently notices Max across the room as Mom is talking to her / Ominous music / Mom's voice recedes into background / Mom follows Danielle's gaze; she recognizes Max / Mom and Danielle fight about going over to say hi; they do; Max is talking to Danielle's dad / Genuine conversation about Danielle's schooling and future plans from Danielle's parents; amused, detached responses from Max; awkward, stuttered responses from Danielle, trying to uphold contradictory lies to both her parents and Max
Danielle silently fixes herself a plate of food / Max audibly talks to her parents in the background / Ominous music resumes / Danielle eats silently in the foreground / Dad: "Didn't you guys have a baby this year?" Max: "Yep." / Danielle begins choking on her bagel / Max gets a phone call from his his wife; she's arrived with the baby
Baby cries as Danielle approaches / Kim introduces herself / Kim and Danielle's parents discuss jobs prospects; Kim outs Max just like Danielle's parents did with her (he doesn't make the money, she does) / Kim notices that she and Danielle have the same bracelet (Max got them both); she can tell something is amiss / Ominous music resumes / As Max approaches with coffee, his phone vibrates with a series of nudes Danielle has sent from the bathroom / As he rushes to stop the noise, he drops his phone; he and Danielle bend down at the same time in a rush to pick it up; Max spills the coffee on Danielle; the baby starts crying
Danielle and Max make silent eye contact across the room / As he calls out to her, she runs away / He chases her into the unpopulated kitchen: "Hey, hey..." / Max: "I think it would be best if we ended this." Danielle: "We probably should, before your wife runs out of money." / An elder relative appears in the kitchen, looking for a bathroom / As she leaves, Kim emerges, silently, with the baby, suggesting they leave / Awkward silence from all / Max leaves / Kim and Danielle continue staring at each other in silence / Danielle exits the kitchen; on her way out she says "Sorry" to Kim, who responds with a deep sigh
Cacophony.
Danielle notices her sugar daddy, Max, from across the room.
Danielle's mom knows who Max is (but not who he is to Danielle).
Danielle's sugar daddy worked for her actual father.
Character guide: Razmik is an Armenian cab driver who has moved to LA with his wife, Yeva, and her family. Razmik often enjoys the services of trans prostitutes, one of whom is named Alexandra, during his drives. Chester is their pimp. MIL denotes Razmik's mother-in-law.
Alexandra: "I think this is becoming our favorite spot." / Silence inside the car / Car wash noises outside the car; these sounds score the scene / Razmik silently goes down on Alexandra / Car wash and sex act end contemporaneously
Razmik: "Come here baby"; his toddler runs away / One of the relatives: "You have a great son." Yeva: "He's great, but gets tired too much" / New scene / Razmik and Yeva are alone in the kitchen; he tells her he's going back out to work; he "didn't earn a penny" that day and has "no patience" for MIL / MIL makes a fuss when he leaves as he's the man of the house; Yeva justifies that in that case, he's also the provider / As Razmik exits, he asks his wife, in English, to "tell [MIL] to shut her mouth. I'm not in the mood for this."
Tense bongo music as MIL approaches Donut Time / Razmik is inside with Chester, Alexandra, and another girl / Razmik and MIL argue in Armenian / Razmik begs Chester, in English, to tell MIL he doesn't do drugs / Chester obliges, but figures out a way to convey to non-English-speaking MIL what Razmik does do / MIL freaks out in Armenian, while the girls make fun of her in English / MIL calls Yeva, telling her to pull up / Yeva arrives, carrying their crying toddler / MIL and Yeva argue in Armenian; Yeva talks to the girls in English; the baby won't stop crying / Razmik (re MIL): "She's been trying to destroy our family from day one." Yeva: "No, you are."
Razmik sits in silence in his living room.
Sin-Dee takes out her anger on the girl her boyfriend has been cheating with (and pimping out).
She makes the mistake of comparing them to each other.
Dinah isn't under any false pretenses about her relationship with Chester.