Dylan Robinson
Biographic Data
| ID | 3618227 |
|---|---|
| NAME | Dylan Robinson |
| GIVEN NAMES | Dylan |
| FAMILY NAME | Robinson |
| SIGNATURE | ROBINSON D |
| AFFILIATIONS | School of Music University of British Columbia Vancouver Canada |
| ORCID | 0000-0003-2763-5500 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 91 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Response to “On Leaving Things Out” by Lee Veeraraghavan
When Carter Mathes invited me to think with him about who might offer compelling responses to and critiques of Hungry Listening, I was quick to suggest that we approach Lee Veeraraghavan. This was of course because of her research on settler colonialism, listening, and R. Murray Schafer, but more importantly because of what I sensed was a strong critique of Hungry Listening that I believed I didn’t fully understand. Given what I thought I underst…
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…
Shxwelí li te shxwelítemelh xíts'etáwtxw
Across the globe, museums filled with glass and plexiglass vitrines display collections of Indigenous belongings. The typical display scenario for such belongings places them upon plinths, underneath plexiglass. These cases render the life they contain into objects of display, things to be seen but not touched. For Indigenous people, experiencing this objectifying system of display is often traumatic because that which is on display fits neither …
Giving / Taking Notice
Reparative interpellation
This article considers the multiple ways in which public art interpellates viewers as settlers, Indigenous and non-human subjects. It could be argued that much public artwork in the late 20th and early 21st century has a ‘reparative’ function through its socially-engaged, community-specific and consciousness-raising aspects. To do so, however, would be to conflate the reparative with the recognition of injustice rather than understand it as the a…
Hungry listening resonant theory for indigenous sound studies
This highly theoretical work of ethnomusicology is a reclamation of Indigenous ceremonial and artistic practice arguing that the inclusion and appropriation of Indigenous performers in classical music traditions only enriches the settler nation-state. Robinson gives shape to Western musical and aesthetic practices as well as to Indigenous listening practices in order to eschew traditional (Western) forms of musical analysis. Instead, the work arg…
Arts of Engagement
Hungry listening resonant theory for indigenous sound studies
This highly theoretical work of ethnomusicology is a reclamation of Indigenous ceremonial and artistic practice arguing that the inclusion and appropriation of Indigenous performers in classical music traditions only enriches the settler nation-state. Robinson gives shape to Western musical and aesthetic practices as well as to Indigenous listening practices in order to eschew traditional (Western) forms of musical analysis. Instead, the work arg…
Shxwelí li te shxwelítemelh xíts'etáwtxw
Across the globe, museums filled with glass and plexiglass vitrines display collections of Indigenous belongings. The typical display scenario for such belongings places them upon plinths, underneath plexiglass. These cases render the life they contain into objects of display, things to be seen but not touched. For Indigenous people, experiencing this objectifying system of display is often traumatic because that which is on display fits neither …
Arts of Engagement
Hungry listening resonant theory for indigenous sound studies
This highly theoretical work of ethnomusicology is a reclamation of Indigenous ceremonial and artistic practice arguing that the inclusion and appropriation of Indigenous performers in classical music traditions only enriches the settler nation-state. Robinson gives shape to Western musical and aesthetic practices as well as to Indigenous listening practices in order to eschew traditional (Western) forms of musical analysis. Instead, the work arg…
Giving / Taking Notice
Reparative interpellation
This article considers the multiple ways in which public art interpellates viewers as settlers, Indigenous and non-human subjects. It could be argued that much public artwork in the late 20th and early 21st century has a ‘reparative’ function through its socially-engaged, community-specific and consciousness-raising aspects. To do so, however, would be to conflate the reparative with the recognition of injustice rather than understand it as the a…
Response to “On Leaving Things Out” by Lee Veeraraghavan
When Carter Mathes invited me to think with him about who might offer compelling responses to and critiques of Hungry Listening, I was quick to suggest that we approach Lee Veeraraghavan. This was of course because of her research on settler colonialism, listening, and R. Murray Schafer, but more importantly because of what I sensed was a strong critique of Hungry Listening that I believed I didn’t fully understand. Given what I thought I underst…
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…
Shxwelí li te shxwelítemelh xíts'etáwtxw
Across the globe, museums filled with glass and plexiglass vitrines display collections of Indigenous belongings. The typical display scenario for such belongings places them upon plinths, underneath plexiglass. These cases render the life they contain into objects of display, things to be seen but not touched. For Indigenous people, experiencing this objectifying system of display is often traumatic because that which is on display fits neither …
Art (3 works) · Indigenous (3 works) · Psychology (3 works) · Sociology (3 works) · Active listening (2 works) · Computer Science (2 works) · Ecology (2 works) · History (2 works) · Law (2 works) · Media studies (2 works)