What do queerness and transness sound like? How can we listen and create in ways that subvert cisheteronormative paradigms?
We’ll begin by defining and developing a practice of listening with a queer and/or trans ear. In Class 1, we’ll explore the politics of legibility, the concept of noise, and “horizontal listening” as a radical political act. In Class 2, we’ll dive into the history of queer and trans sound, including an exploration of LGBTQ2S+ archives, early sound artists, and what to do when we encounter sonic absence. During Class 3, students will engage in a survey of contemporary queer and trans audio storytelling. Topics include how to tell stories from/about the margins, glitches and synthetic “third sounds,” and embodied approaches to working in audio.
In addition to readings and listenings to support in-class discussion, students will also practice new approaches to sound through three short, experimental assignments. While this course will not include any technical editing instruction, all assignments will have accessible options for students who do not have editing experience.
April 2, 9, and 16 6:30-8:30 pm ET Tuesdays
Bio: Aubrey Calaway is a Maine-based audiomaker, educator, and writer. In addition to other podcast series, Aubrey is a Producer on the “TransLash Podcast with Imara Jones,” a GLAAD Media-award winning and Apple Podcast Spotlight show. They have also produced stories for the Institute of Contemporary Arts Miami, the Black Mountain Institute, The Texas Observer, Cite Magazine, and more. Aubrey has taught audio storytelling at Salt, Grackle & Grackle, and the Community Youth Center of San Francisco. Their audio documentary “Love in the Clown House” was shortlisted for Outstanding Achievement in Audio at the Black Snapper International Film Festival. Aubrey was the 2023 Salt Artist in Residence at Monson Arts.
Something to record audio with (can be as basic as a smartphone)
A preferred editing software (optional)