Gascia Ouzounian
Biographic Data
| ID | 1379464 |
|---|---|
| NAME | Gascia Ouzounian |
| GIVEN NAMES | Gascia |
| FAMILY NAME | Ouzounian |
| SIGNATURE | OUZOUNIAN G |
| AFFILIATIONS | Queen's University Belfast |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Preemptive listening
Nested within the crisis of our attention economy, the siren is undergoing a profound transformation, prompted by our ongoing alarm fatigue and noise pollution, as well as the near-obsolescence and inefficiency of public sound system broadcasts. Employing an interdisciplinary approach from specialists in the field of sound studies, behavioural psychology, policy advisors and creative practitioners, this roundtable article aims to unpack the criti…
Aftersound
This conversation, which took place at The Showroom, London, on March 8, 2022, brings together the sound producer and architect Mhamad Safa and the sonic theorist Gascia Ouzounian in exploring Safa’s work on sound, trauma, and acoustic jurisprudence, with a focus on Beirut and Lebanon. The conversation covers a range of topics, from the differential policing of noise along lines of social difference; to earwitnessing war and conflict; to the long…
Counterlistening
Counterlistening Gascia Ouzounian (bio) 1. counterlistening is listening against: against unequal systems of power and uneven modes of exchange; against official and hegemonic narratives of events, histories, places, territories, groups, communities; against normative and dominant cultures of listening; against one's own habits of listening, including those habits that have been engrained through culture and that are entrenched through disciplini…
Sound installation art
Recomposing the City
This article introduces examples of recent sound art in Belfast, a city that has undergone radical transformation over the past decade and is home to a burgeoning community of sound artists. The text investigates the ways in which sonic art can redraw boundaries in a city historically marked by myriad political, socioeconomic, religious and sectarian divisions. The article focuses on sound works that reimagine a “post-conflict” Belfast. These inc…
The uncertainty of Experience
George Brecht, an artist best known for his associations with Fluxus, is considered to have made significant contributions to emerging traditions of conceptual art and experimental music in the early 1960s. His Event scores, brief verbal scores that comprised lists of terms or open-ended instructions, provided a signature model for indeterminate composition and were ‘used extensively by virtually every Fluxus artist’. This article revisits Brecht…
Contemporary radio art and spatial politics
The article explores the work of the Canadian sound artist Anna Friz over the last decade. Her work deals explicitly with issues of technology and the relative absence of women's voices on radio. Exploring her work as a composer, installation artist, instrumentalist, performance artist and storyteller, and contextualising these practices within feminist critiques and radio conventions, the article explores Friz's self-reflexive radio. Ideas of su…
Visualizing Acoustic Space
This article explores concepts of acoustic space in postwar media studies, architecture, and spatial music composition. A common link between these areas was the characterization of acoustic space as indeterminate, chaotic, and sensual, a category defined in opposition to a definite, ordered, and rationalized visual space. These conceptual polarities were vividly evoked in an iconic sound-and-light installation, the Philips Pavilion at the 1958 B…
History, An Exit Strategy
A cartographer constructs a map of an individual creative history, that of the American artist kara lynch, as it emerges in connection to a collective history of African American cultural expression. Positioning history as complex, dynamic systems of interwoven memory networks, the map follows lynch's traversals through various "zones of cultural haunting": places where collective memories made invisible through systematic processes of cultural e…
Embodied sound
This article examines two sound installations distributed on CD: Maryanne Amacher's Sound Characters (Making the Third Ear) (1999) and Bernhard Leitner's KOPFRÄUME (HEADSCAPES) (2003). The author undertakes an embodied reception of these works, experimenting with new models of listening and analysis that take into consideration aspects of the built environment, social spaces and imaginary architectures as these are perceived at the intersection o…
Embodied sound
This article examines two sound installations distributed on CD: Maryanne Amacher's Sound Characters (Making the Third Ear) (1999) and Bernhard Leitner's KOPFRÄUME (HEADSCAPES) (2003). The author undertakes an embodied reception of these works, experimenting with new models of listening and analysis that take into consideration aspects of the built environment, social spaces and imaginary architectures as these are perceived at the intersection o…
Embodied sound
This article examines two sound installations distributed on CD: Maryanne Amacher's Sound Characters (Making the Third Ear) (1999) and Bernhard Leitner's KOPFRÄUME (HEADSCAPES) (2003). The author undertakes an embodied reception of these works, experimenting with new models of listening and analysis that take into consideration aspects of the built environment, social spaces and imaginary architectures as these are perceived at the intersection o…
Contemporary radio art and spatial politics
The article explores the work of the Canadian sound artist Anna Friz over the last decade. Her work deals explicitly with issues of technology and the relative absence of women's voices on radio. Exploring her work as a composer, installation artist, instrumentalist, performance artist and storyteller, and contextualising these practices within feminist critiques and radio conventions, the article explores Friz's self-reflexive radio. Ideas of su…
Visualizing Acoustic Space
This article explores concepts of acoustic space in postwar media studies, architecture, and spatial music composition. A common link between these areas was the characterization of acoustic space as indeterminate, chaotic, and sensual, a category defined in opposition to a definite, ordered, and rationalized visual space. These conceptual polarities were vividly evoked in an iconic sound-and-light installation, the Philips Pavilion at the 1958 B…
History, An Exit Strategy
A cartographer constructs a map of an individual creative history, that of the American artist kara lynch, as it emerges in connection to a collective history of African American cultural expression. Positioning history as complex, dynamic systems of interwoven memory networks, the map follows lynch's traversals through various "zones of cultural haunting": places where collective memories made invisible through systematic processes of cultural e…
The uncertainty of Experience
George Brecht, an artist best known for his associations with Fluxus, is considered to have made significant contributions to emerging traditions of conceptual art and experimental music in the early 1960s. His Event scores, brief verbal scores that comprised lists of terms or open-ended instructions, provided a signature model for indeterminate composition and were ‘used extensively by virtually every Fluxus artist’. This article revisits Brecht…
Sound installation art
Recomposing the City
This article introduces examples of recent sound art in Belfast, a city that has undergone radical transformation over the past decade and is home to a burgeoning community of sound artists. The text investigates the ways in which sonic art can redraw boundaries in a city historically marked by myriad political, socioeconomic, religious and sectarian divisions. The article focuses on sound works that reimagine a “post-conflict” Belfast. These inc…
Counterlistening
Counterlistening Gascia Ouzounian (bio) 1. counterlistening is listening against: against unequal systems of power and uneven modes of exchange; against official and hegemonic narratives of events, histories, places, territories, groups, communities; against normative and dominant cultures of listening; against one's own habits of listening, including those habits that have been engrained through culture and that are entrenched through disciplini…
Aftersound
This conversation, which took place at The Showroom, London, on March 8, 2022, brings together the sound producer and architect Mhamad Safa and the sonic theorist Gascia Ouzounian in exploring Safa’s work on sound, trauma, and acoustic jurisprudence, with a focus on Beirut and Lebanon. The conversation covers a range of topics, from the differential policing of noise along lines of social difference; to earwitnessing war and conflict; to the long…
Preemptive listening
Nested within the crisis of our attention economy, the siren is undergoing a profound transformation, prompted by our ongoing alarm fatigue and noise pollution, as well as the near-obsolescence and inefficiency of public sound system broadcasts. Employing an interdisciplinary approach from specialists in the field of sound studies, behavioural psychology, policy advisors and creative practitioners, this roundtable article aims to unpack the criti…
Art (7 works) · Acoustics (5 works) · Aesthetics (5 works) · Sociology (5 works) · Communication (4 works) · Computer Science (4 works) · History (4 works) · Political science (4 works) · Politics (4 works) · Visual arts (4 works)