Amy Cimini
Biographic Data
| ID | 1462328 |
|---|---|
| NAME | Amy Cimini |
| GIVEN NAMES | Amy |
| FAMILY NAME | Cimini |
| SIGNATURE | CIMINI A |
| AFFILIATIONS | University of California San Diego |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
La Memoria es un Pájaro, or multimedia poetry in the drift
This essay meditates on multimedia and sound artist Pablo Francisco Morales’s solo exhibition La Memoria es un Pájaro at the Instituto Municipal de Arte y Cultura (IMAC) in Tijuana during early summer 2022. Morales’ work opens the social and psychic experience of mourning through mediatic dispersal across audio, video, photography, dramatising how mourning’s demands on signification unsettle material and perceptual reality. The exhibition also in…
We don’t know that we don’t know what a body can do … , or Spinoza and some social lives of sonic material
This essay is about how artists, listeners and critics claim to hear life in a sound and how this suggestive, but hazily defined, provocation connects vast cultural circuits of production, technology and capital. I argue that claims to life in a sound also belie an anachronistic return to an early modern understanding of sound as particulate matter and suggest a technoscientific discourse in which sound and data are described in terms of one anot…
Walking to the gallery
For two weeks in October 2017, the San Diego gallery Helmuth Projects displayed Sondra Perry’s installation IT’S IN THE GAME ’17 Or Mirror Trick for Vitrine and Projection. In the installation, Perry meditates on her twin brother’s involvement in the class action suit O’Bannon vs the NCAA in which college athletes challenges the NCAA sale their names, images and likeness (NILs) to the video game company EA without the players’ consent. Perry exca…
Music Theory, Feminism, the Body
This essay returns to early 1990s work on feminist music theory to query the concepts of mediation that underlie it. Efforts to bring music analysis closer to performance drag the historicity of the body along with them. They need to show how bodies are always already mediated, and to include a concern for the mutual mediation of body and social processes; not just the microsocialities of performance but also translocal formations of gender, race…
Telematic Tape
Reel-to-reel recordings and 15 kilocycle telelinks converge in Maryanne Amacher's telematic installation series City-Links (1967–81). As long-duration recordings of urban sites, City-Links queries the musicality of ambient sound on tape, a question of critical importance to many composers of the period. But as expressly telematic tape, City-Links embeds these recordings within a transforming US telecommunications industry where expanded long-dist…
Inexhaustible Sound and Fiduciary Aurality
Music, sound, and aurality appear to be valuable for their inexhaustibility. With the notion of fiduciary aurality, we assess how this inexhaustibility is both mobilized and attenuated when music and sound are presumed to work on behalf of politics. In the early 1990s, critical musicology's appeal to the performative as embodied knowledge and a more recent “affective turn” reveals fiduciary aurality to rely on two posits: first, a quasi realism t…
Posthuman sounds
It might be something of a truism to observe that sound entangles us with technology ... and that technology entangles us with sound. But to propose, as David Cecchetto does in his introduction to Hu
Vibrating Colors and Silent Bodies. Music, Sound and Silence in Maurice-Merleau-Ponty's Critique of Dualism
Maurice Merleau-Ponty's phenomenology offers an extremely robust and frequently utilized framework for understanding embodied life, but the interlocking roles of music, sound and silence in his treatment of embodiment are rarely noted. Across his oevre, Merleau-Ponty engages art, literature philosophy and politics, and this article prioritizes Merleau-Ponty's interventions on René Descartes' notorious mind–body dualism, which remains a polemical …
Inexhaustible Sound and Fiduciary Aurality
Music, sound, and aurality appear to be valuable for their inexhaustibility. With the notion of fiduciary aurality, we assess how this inexhaustibility is both mobilized and attenuated when music and sound are presumed to work on behalf of politics. In the early 1990s, critical musicology's appeal to the performative as embodied knowledge and a more recent “affective turn” reveals fiduciary aurality to rely on two posits: first, a quasi realism t…
Music Theory, Feminism, the Body
This essay returns to early 1990s work on feminist music theory to query the concepts of mediation that underlie it. Efforts to bring music analysis closer to performance drag the historicity of the body along with them. They need to show how bodies are always already mediated, and to include a concern for the mutual mediation of body and social processes; not just the microsocialities of performance but also translocal formations of gender, race…
Vibrating Colors and Silent Bodies. Music, Sound and Silence in Maurice-Merleau-Ponty's Critique of Dualism
Maurice Merleau-Ponty's phenomenology offers an extremely robust and frequently utilized framework for understanding embodied life, but the interlocking roles of music, sound and silence in his treatment of embodiment are rarely noted. Across his oevre, Merleau-Ponty engages art, literature philosophy and politics, and this article prioritizes Merleau-Ponty's interventions on René Descartes' notorious mind–body dualism, which remains a polemical …
Posthuman sounds
It might be something of a truism to observe that sound entangles us with technology ... and that technology entangles us with sound. But to propose, as David Cecchetto does in his introduction to Hu
Inexhaustible Sound and Fiduciary Aurality
Music, sound, and aurality appear to be valuable for their inexhaustibility. With the notion of fiduciary aurality, we assess how this inexhaustibility is both mobilized and attenuated when music and sound are presumed to work on behalf of politics. In the early 1990s, critical musicology's appeal to the performative as embodied knowledge and a more recent “affective turn” reveals fiduciary aurality to rely on two posits: first, a quasi realism t…
Telematic Tape
Reel-to-reel recordings and 15 kilocycle telelinks converge in Maryanne Amacher's telematic installation series City-Links (1967–81). As long-duration recordings of urban sites, City-Links queries the musicality of ambient sound on tape, a question of critical importance to many composers of the period. But as expressly telematic tape, City-Links embeds these recordings within a transforming US telecommunications industry where expanded long-dist…
Walking to the gallery
For two weeks in October 2017, the San Diego gallery Helmuth Projects displayed Sondra Perry’s installation IT’S IN THE GAME ’17 Or Mirror Trick for Vitrine and Projection. In the installation, Perry meditates on her twin brother’s involvement in the class action suit O’Bannon vs the NCAA in which college athletes challenges the NCAA sale their names, images and likeness (NILs) to the video game company EA without the players’ consent. Perry exca…
Music Theory, Feminism, the Body
This essay returns to early 1990s work on feminist music theory to query the concepts of mediation that underlie it. Efforts to bring music analysis closer to performance drag the historicity of the body along with them. They need to show how bodies are always already mediated, and to include a concern for the mutual mediation of body and social processes; not just the microsocialities of performance but also translocal formations of gender, race…
We don’t know that we don’t know what a body can do … , or Spinoza and some social lives of sonic material
This essay is about how artists, listeners and critics claim to hear life in a sound and how this suggestive, but hazily defined, provocation connects vast cultural circuits of production, technology and capital. I argue that claims to life in a sound also belie an anachronistic return to an early modern understanding of sound as particulate matter and suggest a technoscientific discourse in which sound and data are described in terms of one anot…
La Memoria es un Pájaro, or multimedia poetry in the drift
This essay meditates on multimedia and sound artist Pablo Francisco Morales’s solo exhibition La Memoria es un Pájaro at the Instituto Municipal de Arte y Cultura (IMAC) in Tijuana during early summer 2022. Morales’ work opens the social and psychic experience of mourning through mediatic dispersal across audio, video, photography, dramatising how mourning’s demands on signification unsettle material and perceptual reality. The exhibition also in…
Aesthetics (5 works) · Philosophy (5 works) · Art (4 works) · Musicology and Musical Analysis (4 works) · Diverse Musicological Studies (3 works) · Epistemology (3 works) · Linguistics (3 works) · Music History and Culture (3 works) · Music Technology and Sound Studies (3 works) · Sociology (3 works)