Unknown Histories

A few months ago, we began the early stages of re-conceptualizing the visuals for a project dedicated to preserving women’s intellectual history. How could we make this information more dynamic, more interactive, more collaborative? And, in turn, how could we make sure that this important, yet often unacknowledged history, becomes and remains a vital part of our educational standards? It’s an exciting project, for sure, but it’s also a project that reminds us that some histories aren’t as heralded as others. Names, faces, thoughts, and ideas. Movements, collectives, discoveries, and innovations. All of them here, many of them forgotten. Their works and their creations have either been relegated to footnotes, or continued on in our consciousness completely divorced from their makers.

The project’s director, New School professor Gina Luria Walker, noted in an interview with Broadly: “It’s too easy to blame the media, or blame big business, or capitalism, or white men. The issue is ancient. It is primordial.”

Simply: we don’t know these names because no one has ever told us that we needed to. But what if, from the very beginning, these names weren’t unearthed discoveries, but readily accessible knowledge? That knowledge has to come from somewhere, and it needs to start early.

——

Women in Science by Rachel Ignotofsky

Recently, I had the absolute pleasure of reading Women in Science: 50 Fearless Pioneers Who Changed the World (Ten Speed Press) written and illustrated by Rachel Ignotofsky. I suppose, that on its face, it may seem like a children’s book— it’s colorful, vividly illustrated, and contains short, easily digestible biographies of fifty women in science—it actually is perfect for the budding science-lover in your household. It would be a mistake to think that it’s only for kids, though (as evidenced by the excited ooohs and aaahs heard around the office when the book arrived). Honestly, how many us know the remarkable Annie Easley who, despite being subjected to the indignities of the Jim Crow south, went on the become a NASA engineer whose work formed the foundations for space shuttle launches? Or the work of particle physicist Sau Lan Wu who, against her father’s wishes, applied to college and later led one of the teams instrumental in observing the Higgs boson? For these names to become more recognizable, they need to be written about, read about, and spoken about by people of all ages. We can’t remember what we’ve never known.

9781607749769-1
Ten Speed Press

One of my favorite images in Ignotofsky’s book is an illustration titled “More Women in Science,” where she highlights eight additional women and provides short bios for each. But it’s the ninth figure on the page that gets me. She leaves this one in shadow, mysterious—”The next great scientist could be you!” she writes. That gets to the heart of it; these biographies do more than uncover history, they make inroads for the future. It’s not important to keep these names alive just because it’s the right thing to do (it is), it’s important because knowing them could mean the difference between a kid seeing the possibilities and, well, not. Women in Science is an important book to hand to a kid because they need to know—as soon as possible—that history includes all of us. It’s also an important book to keep for yourself because, sometimes, whatever your age, you might need a reminder of that fact, too.

Reflections on "Acoustic Ecologies"

continentIn their letter in the special issue on sound studies of journal continent. editors Jamie Allen, Lital Khaikin, and Isaac Linder contemplate the sound artist as a public artist. Sound, they argue, isn’t private. Rather, sound creates an ecology and an environment, one in which we can both choose to be a part of (i.e. music in headphones) and those which we do not (i.e. pretty much everything else). When much of our interactions with sound are an experience that we’re generally not choosing, what is the role of the sound artist? What is the role of sound that is intentional, space-specific, and intended for the public. The editors describe it this way:

We ask the question: through what devices, technologies, infrastructures and systems are the politics of public space debated? What are the mediations and interventions possible in an art involved in sound that are, in our troubled world of multitudinous crisis, necessarily addressing and controlled by states of emergency, homeland security sound systems, consumer prompting PA’s for the incentivisation of purchases and the effective affectation of Muzak.

Built around the theme of “Acoustic Ecologies,” the issue features articles from theorists and practitioners, each with unique approaches to the theme. For example, artist Gail Priest asks “What will art in the future sound like?” in her hybrid audiovisual and literature piece “Welltuned City”; artist and writer Byron Peters examines the force of sound (and silence) on networks and political movements; and Jan Philip Müller explores how radio broadcasts during the Vietnam War were spaces for resistance, compliance, points in between, and often, all angles at once.

In their letter, the editors pose an interesting question: “Yet, as with the non-death of writing that has become a hallmark of our digital age, perhaps we’re both sounding and listening now more than we ever have?” It’s an intriguing thought. Of course, the ways we listen have changed; technology has seen to that. And it’s not too much of a stretch to say that the amount we’re listening to has changed as well. As I write this, I hear the buzz of the air conditioner, the hum of electronics, the ever-present whir of the traffic below—many of those unrecognizable noise to someone occupying this space a hundred years ago. Sound is layered in every part of our days, building a particular environment for the listener. But it’s less about how these sounds are finding us, or how many of them we interact with, and more about what we do with them and how we craft our environments and actions around them. Each of us has the ability to be both listener and producer, creator and participant in our sound-rich environments. The entire issue is a remarkable look at the ways that sound artists and theorists are contemplating the role of public sound.