Listening with costume : a material-discursive practice
(2024) p.119-228- Abstract
- This chapter is a dialogue between practice and theory and between human
and non-human companions about what listening with costume might imply.
Whereas hearing is the passive process of perceiving sound through our ears,
listening requires attention, understanding and interpretation. It is an active skill
that involves knowledge, memory and our imagination and it may call upon our
other senses. Moreover, listening is an action that we can cultivate in particular
ways when we collaborate with both humans and inanimate objects. Listening
with costume can change the concept of just wearing or using a costume if we
listen to its ‘inner voice’. Careful listening fosters a deeper involvement with the
material... (More) - This chapter is a dialogue between practice and theory and between human
and non-human companions about what listening with costume might imply.
Whereas hearing is the passive process of perceiving sound through our ears,
listening requires attention, understanding and interpretation. It is an active skill
that involves knowledge, memory and our imagination and it may call upon our
other senses. Moreover, listening is an action that we can cultivate in particular
ways when we collaborate with both humans and inanimate objects. Listening
with costume can change the concept of just wearing or using a costume if we
listen to its ‘inner voice’. Careful listening fosters a deeper involvement with the
material or costume which thereby takes on a greater role in the design and performance process. My quest is to speculate on how we, as costume designers in
collaboration with our colleagues in costume and performance-making situations,
can cultivate our listening cultures in ways that make us aware of how we listen.
Listening with costume is a material-discursive practice, a term used describe
how materiality and thought intertwine to produce meaning. Through the practice
of careful listening we can cultivate our lydhørhed (responsiveness and attentiveness)
towards both the material properties or qualities of the textile or costume
and the embodied experience of wearing the costume, without one subordinating
the other. In the TED talk ‘The Difference Between Hearing and Listening’, composer
Pauline Oliveros says that ‘listening is a mysterious process that is not the
same for everyone’ (Oliveros 2015). She emphasises the fact that listening is subjective
and that we never listen in the same way. This chapter approaches aspects
of what listening with costume might entail and puts forward the idea that how
we listen, and to whom or what, can change or challenge the way we collaborate
with both materials and performers. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/9fa5d8cf-0967-4df2-b2d9-6b9f612b2897
- author
- Østergaard, Charlotte LU
- organization
- publishing date
- 2024-12-16
- type
- Chapter in Book/Report/Conference proceeding
- publication status
- published
- subject
- keywords
- listening, costume, costume thinking, Listening Practice, textile, costume performance, costume research, artistic research, performance
- host publication
- Insurbordinate Costume : Inspiring Performance - Inspiring Performance
- editor
- Marshall, Susan
- edition
- 1st edition
- pages
- 119 - 228
- publisher
- Routledge
- external identifiers
-
- scopus:85210720153
- ISBN
- 9781003341000
- 9781032375977
- DOI
- 10.4324/9781003341000-10
- project
- Crafting material bodies - exploring co-creative costume processes
- language
- English
- LU publication?
- yes
- additional info
- Ahmed, Sara. 2006. Queer Phenomenology – Orientations, Objects, Others: Durham, NC: Duke University Press. https://doi .org /10 .1215 /9780822388074. Barbieri, Donatella and Sofia Pantouvaki. 2020. “Costume and Ethics: Reflection on Part, Present and Future Entanglements.” Studies in Costume and Performance, 5(1), 3–11. https://doi .org /10 .1386 /scp 00010 2. Haraway, Donna. 1988. “Situated Knowledge: The Science Question in Feminism and the Privilege if Partial Perspective.” Feminist Studies, 14(3), 575–599. https://doi .org /10 .2307 /3178066. Haraway, Donna. 2016. Staying with the Trouble – Making Kin in the Chthulucene. Durham, NC: Duke University Press. https://doi .org /10 .2307 /j .ctv11cw25q. Marshall, Susan. 2021. Insubordinate Costume. Doctoral thesis, Goldsmiths, University of London. https://doi .org /10 .25602 /GOLD .00031204. Oliveros, Pauline. 2005. Deep Listening: A Composer’s Sound Practice, New York: iUniverse Oliveros, Pauline. 2010. Quantum Listening. London: Ignnota. Oliveros, Pauline. 2015. “The Difference between Hearing and Listening.” TED talks, November 12, 2015. https://www .youtube .com /watch ?v= QHfOuRrJB8 &t =4s accessed [02/09/23]. Pantouvaki, Sofia. 2020. “‘Costume Thinking’ as a Strategy for Critical Thinking.” Paper presentation at Critical Costume 2020 Conference (online). https://costumeagency .com /project /sofia -pantouvaki/ accessed [12/09/20]. Paulson, Steve. 2019. “Making Kin: An Interview with Donna Haraway.” LARB Los Angeles review of books, published December 6, 2019. https://lareviewofbooks .org /article / making -kin -an -interview -with -donna -haraway/ accessed [12/12/22]. Pitsoe, Victor J. and Mago Maila. 2013. “Re-thinking Teacher Professional Development through Schön’s Reflective Practice and Situated Learning Lenses.” Mediterranean journal of Social Sciences, 4(3), 211–218. Rome: MCSER Publishing. https://doi .org /10 .5901 /mjss .2013 .v4n3p211. Skærbæk, Eva. 2009. “Leaving Home? The ‘worlds’ of Knowledge, Love and Power.” In Teaching Subjectivity, Travelling Selves for Feminist Pedagogy. Athena, 47–67. Skærbæk, Eva. 2010. “Navigating in the Landscape of Care: A Critical Reflection on Theory and Practice of Care and Ethics.” Journal of Health Care Analysis, Online Oc
- id
- 9fa5d8cf-0967-4df2-b2d9-6b9f612b2897
- date added to LUP
- 2024-12-01 15:41:50
- date last changed
- 2025-07-11 16:42:29
@inbook{9fa5d8cf-0967-4df2-b2d9-6b9f612b2897,
abstract = {{This chapter is a dialogue between practice and theory and between human<br/>and non-human companions about what listening with costume might imply.<br/>Whereas hearing is the passive process of perceiving sound through our ears,<br/>listening requires attention, understanding and interpretation. It is an active skill<br/>that involves knowledge, memory and our imagination and it may call upon our<br/>other senses. Moreover, listening is an action that we can cultivate in particular<br/>ways when we collaborate with both humans and inanimate objects. Listening<br/>with costume can change the concept of just wearing or using a costume if we<br/>listen to its ‘inner voice’. Careful listening fosters a deeper involvement with the<br/>material or costume which thereby takes on a greater role in the design and performance process. My quest is to speculate on how we, as costume designers in<br/>collaboration with our colleagues in costume and performance-making situations,<br/>can cultivate our listening cultures in ways that make us aware of how we listen.<br/>Listening with costume is a material-discursive practice, a term used describe<br/>how materiality and thought intertwine to produce meaning. Through the practice<br/>of careful listening we can cultivate our lydhørhed (responsiveness and attentiveness)<br/>towards both the material properties or qualities of the textile or costume<br/>and the embodied experience of wearing the costume, without one subordinating<br/>the other. In the TED talk ‘The Difference Between Hearing and Listening’, composer<br/>Pauline Oliveros says that ‘listening is a mysterious process that is not the<br/>same for everyone’ (Oliveros 2015). She emphasises the fact that listening is subjective<br/>and that we never listen in the same way. This chapter approaches aspects<br/>of what listening with costume might entail and puts forward the idea that how<br/>we listen, and to whom or what, can change or challenge the way we collaborate<br/>with both materials and performers.}},
author = {{Østergaard, Charlotte}},
booktitle = {{Insurbordinate Costume : Inspiring Performance}},
editor = {{Marshall, Susan}},
isbn = {{9781003341000}},
keywords = {{listening; costume; costume thinking; Listening Practice; textile; costume performance; costume research; artistic research; performance}},
language = {{eng}},
month = {{12}},
pages = {{119--228}},
publisher = {{Routledge}},
title = {{Listening with costume : a material-discursive practice}},
url = {{http://dx.doi.org/10.4324/9781003341000-10}},
doi = {{10.4324/9781003341000-10}},
year = {{2024}},
}