Carter Mathes
Biographic Data
| ID | 1081641 |
|---|---|
| NAME | Carter Mathes |
| GIVEN NAMES | Carter |
| FAMILY NAME | Mathes |
| SIGNATURE | MATHES C |
| AFFILIATIONS | Rutgers Sexual and Reproductive Health and Rights |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Introducing the Special Series “Insurgent Listening”
In early 2022, soon after I finished reading Hungry Listening (2020),1 I reached out to Dylan with an invitation to co-curate a forum, a series of exchanges, and a collection of interventions inspired by his book. As a scholar of race and sound studies, I was intrigued by the questions Dylan posed about how we might write about listening experience through our individual listening positionalities. While the book argues for rethinking what it mean…
The Timbre of Tears
This commentary discusses the author’s relationships to certain musical sounds, and how those correspondences relate to several key themes examined in a selection of essays within this journal issue. The commentary closes with a brief reflection on the work of musician and composer Diane Moser
Black Ecological Vibrations
Research Article| September 01 2022 Black Ecological Vibrations Carter Mathes Carter Mathes Carter Mathes is a specialist in African American literature, 20th-century literature, and African diaspora studies. His first book, Imagine the Sound: Experimental African American Literature After Civil Rights (University of Minnesota Press, 2015), focuses on the relationship between sound and literary innovation during the 1960s and ’70s. Currently, he …
Of Green Tonalities and Radical Transcendence
This commentary discusses DIS/UNITY, a series of sound-based performances created by the collective Propelled Animals, in conjunction with Laura Garbes’s critical reflections on Indigenous radio broadcasts as radical resistance to settler colonialism, as well as the author’s experiences with the sonic impact on a community environment destroyed through a failure of Black political leadership
Sounding Emancipated Futures
This commentary discusses the aural dimensions of resistance as addressed in several essays published in this issue of Resonance
Discrepant Fidelity
This response offers a critical engagement with and reflection on the work of photographer D. Michael Cheers, specifically his essay on sound and photography, “Listening for the Pictures: Capturing History in Real Time,” in conjunction with selections of his photographic work on protest and Black life
The mind is a strange and terrible vehicle
In this essay I examine the presence of sound as a means of expanding the literary and political dimensions of James Baldwin's 1972 text, No Name in the Street . I argue that Baldwin extends his ideas of blues aesthetics as a window into black political consciousness, and that he more broadly attends to the acoustic qualities of his prose in an effort to critically diagnose a darkening post-civil rights reality marking the late 1960s and early '7…
Love Won't Come Easy
“Love Won’t Come Easy” Carter Mathes (bio) Click for larger view View full resolution Carter Mathes Callaloo © 2012 [End Page 595] In October of 2012, I participated in the Callaloo Conference for the first time. Because I had heard and read much about previous conferences, I felt quite fortunate to be invited into the intellectual community Charles Rowell and the conference committee had created. Just as the journal Callaloo complicates division…
Circuits of Political Prophecy
This article examines transnational circulations of Afro-Jamaican and African-American political culture during 1960s and 1970s (roughly encompassing Jamaican independence, the transitions between Black Power and post–Black-Power era United States, and the year of escalating political violence, state destabilization, and economic collapse within the Jamaican state). Using an idea of sound as a marker of ideological projection and political possib…
No prominent works on this page.
Circuits of Political Prophecy
This article examines transnational circulations of Afro-Jamaican and African-American political culture during 1960s and 1970s (roughly encompassing Jamaican independence, the transitions between Black Power and post–Black-Power era United States, and the year of escalating political violence, state destabilization, and economic collapse within the Jamaican state). Using an idea of sound as a marker of ideological projection and political possib…
The mind is a strange and terrible vehicle
In this essay I examine the presence of sound as a means of expanding the literary and political dimensions of James Baldwin's 1972 text, No Name in the Street . I argue that Baldwin extends his ideas of blues aesthetics as a window into black political consciousness, and that he more broadly attends to the acoustic qualities of his prose in an effort to critically diagnose a darkening post-civil rights reality marking the late 1960s and early '7…
Love Won't Come Easy
“Love Won’t Come Easy” Carter Mathes (bio) Click for larger view View full resolution Carter Mathes Callaloo © 2012 [End Page 595] In October of 2012, I participated in the Callaloo Conference for the first time. Because I had heard and read much about previous conferences, I felt quite fortunate to be invited into the intellectual community Charles Rowell and the conference committee had created. Just as the journal Callaloo complicates division…
Of Green Tonalities and Radical Transcendence
This commentary discusses DIS/UNITY, a series of sound-based performances created by the collective Propelled Animals, in conjunction with Laura Garbes’s critical reflections on Indigenous radio broadcasts as radical resistance to settler colonialism, as well as the author’s experiences with the sonic impact on a community environment destroyed through a failure of Black political leadership
Sounding Emancipated Futures
This commentary discusses the aural dimensions of resistance as addressed in several essays published in this issue of Resonance
Discrepant Fidelity
This response offers a critical engagement with and reflection on the work of photographer D. Michael Cheers, specifically his essay on sound and photography, “Listening for the Pictures: Capturing History in Real Time,” in conjunction with selections of his photographic work on protest and Black life
The Timbre of Tears
This commentary discusses the author’s relationships to certain musical sounds, and how those correspondences relate to several key themes examined in a selection of essays within this journal issue. The commentary closes with a brief reflection on the work of musician and composer Diane Moser
Black Ecological Vibrations
Research Article| September 01 2022 Black Ecological Vibrations Carter Mathes Carter Mathes Carter Mathes is a specialist in African American literature, 20th-century literature, and African diaspora studies. His first book, Imagine the Sound: Experimental African American Literature After Civil Rights (University of Minnesota Press, 2015), focuses on the relationship between sound and literary innovation during the 1960s and ’70s. Currently, he …
Introducing the Special Series “Insurgent Listening”
In early 2022, soon after I finished reading Hungry Listening (2020),1 I reached out to Dylan with an invitation to co-curate a forum, a series of exchanges, and a collection of interventions inspired by his book. As a scholar of race and sound studies, I was intrigued by the questions Dylan posed about how we might write about listening experience through our individual listening positionalities. While the book argues for rethinking what it mean…
Art (6 works) · Sociology (5 works) · Aesthetics (4 works) · Law (4 works) · Politics (4 works) · Art history (3 works) · Computer Science (3 works) · Epistemology (3 works) · History (3 works) · Music History and Culture (3 works)