Equidad e integración social
90 ESTADO DE LA NACION EQUIDAD E INTEGRACIÓN SOCIAL CAPÍTULO
This exploration of subjectivity shows that experiments with listening, affective capture, and analysis can work towards the non-representational call to enliven through revelation of individual spatial-temporal possibilities, emphasizing how research in geographies of listening align with non-representational topics of investigation (Gallagher and Prior, 2014). Moreover, it shows how phonography as performance is one method of working through problems associated with representing relational phenomena such as affective atmospheres. Aside from this focus on
the non-representational, in the rest of the conclusion, I discuss how these experiments inform our understanding of atmospheres as phenomena that blur affect and emotion and how affect is pre-cognate and transpersonal. Finally, I end with a discussion of the underreported aspects of atmosphere regarding their hauntological qualities and connections to ethics of listening.
This research reaffirms claims by Edensor (2012) and Anderson (2009) that affective atmospheres complicate the distinction between emotion and affect. First, this complication was reflected in data collection for textual and phonographic responses to listening. In vocally recorded responses, complications speaking feelings when responding reflected an ambiguity between affect and emotion as an interweaving dynamic verging on perceptual awareness. Moreover, enthralled in the act of listening, my flustered response after experiencing the
intensity of a scene exemplifies this blurring – a swelling atmosphere with an affective intensity that overwhelms feeling. Regarding text-based responses tied to analysis, blurring was
exemplified in descriptions of “intrigue” and “contemplation” reflecting phenomena somewhere in between full-fledged feeling and affect. Thus, atmospheres blur emotion and affect – whether through a precarious weaving between emotion and affect or an affective intensity that
overwhelms feeling. At the same time, atmosphere is also revealed in feeling. How is this resolved? One possible answer is that atmospheres have different states – a phenomena that swells to spur feeling, where in certain acts of swelling, feeling is spurred but overwhelmed by affect. On the other hand, atmospheres wane, where affect and emotion blur in the process of time when its relational constitution changes. This characterization of atmosphere is not to express the phenomena as a dualistic entity, since the relational assemblage ultimately informs its manifestation; rather, it is to note how fluidity informs the character of atmosphere.
As for affect specifically, this paper emphasizes its transpersonal and pre-cognate
qualities. Affect moved across and throughout various material bodies as well as within the sonic phenomena that constituted atmosphere. Moreover, as revealed in experiment two, feeling was different than knowing what was felt – a fact reflected in various comments made in Stickies that could not pinpoint feeling and thus referred to the representational qualities of the listening scene. Even if affect is conditioned by anticipation and not solely precognitive, this work
suggests that affect’s manifestation is still pre-cognate (Edensor, 2012, p. 1119). This point is not to reify a Cartesian mind-body duality; both affect and feeling are tied to the body and the point is to show how mind and body work together in the process of feeling.
While noting these qualities, I hope to emphasize an aspect of atmosphere that has been underreported – hauntologies. Only briefly mentioned by Anderson (2014), atmospheres may “interrupt, perturb and haunt fixed persons, places or things” (p. 78). While Anderson hints at these haunted properties, Gallagher (2015) explicitly mentions them in his work on audio drifts, emphasizing how sound, site, and landscape can have haunting qualities (p.480). That said, while Gallagher emphasizes landscape’s haunted properties, I hope to emphasize the hauntings
associated with atmosphere as they manifest in bodies. When an event catalyzes an atmosphere, such as a gunshot, a scream, or a disturbance, the atmosphere resonates within subjected bodies even after the event has finished. As explored in the introduction of this paper, this resonance was revealed in the bodies of those affected by atmosphere. While Rosenthal’s breathing stopped as the affective emergence of atmosphere altered his physiology, the female who fainted had a more intense physiological response; an atmosphere altering her bodily physiology in a way that might have future implications for health and experience, remnants of an atmosphere haunting and returning in a future manner albeit unknown.
Despite the implication of an atmosphere returning to haunt as its remnants are left across various spaces, what does exposure to a similar atmosphere, albeit different in that the relational constitution of atmosphere changes, reveal? That is, how would the fainting female respond to listening a second or third time? As she would be aware of the twist in the plot, her affective condition may be different. More broadly, how would the controlled exposure to atmosphere in a repeated manner, under certain contexts, inform understandings of affect and atmosphere? This is one future direction for research on affective atmospheres of listening.
While experimental procedures regarding repetition could lead to new insights, I use the qualifier “under certain contexts” not only as a manner for testing variables but moreover to suggest that an ethical consideration needs to be made regarding listening. Given the intensity of the fainting women’s experience when first listening, she might be disinclined from listening again, wary of experiencing the feelings, affect, or bodily condition that initially emerged. In this regard, I echo Gallagher’s (2015) comments that listening is not uncomplicated and requires ethical considerations (p. 481). Gallagher states that listening can be dangerous when one enters an abandoned site, and I hope to emphasize that listening can be triggering, where the act can instill unexpected or unwanted physiological or emotional responses. The assumption that a certain listening experience will deterministically spur various feelings is questionable given variation in listeners. That said, geographic research incorporating experimental listening should note possibilities for a potential gamut of emotional responses, including those that might be described as unfavorable.
Given this disclaimer on listening, there are still benefits for experimenting with methods regarding the capture, analysis, and presentation of affective atmospheres through listening. As stated earlier, these benefits include an attunement to affective life by unearthing the spatio-
temporal extensions that inform a subject, in the process, transforming the listening subject and creating new possibilities for enlivenment. These possibilities could be intentionally sought out by intervening in certain emotive responses. On the other hand, these possibilities could manifest unintentionally, since the relational constitution of encounter emerges in new contours with a transformed subject. With a transformed subject from experience, future research might examine how an intervention with media, including but not limited to audio, could alter subject thereby examining what tracings are left; these tracings could also be explored through media created from these subjects. These beget different ethical and methodological questions but nonetheless, provide opportunities for further exploration of sound and affective life in experience.
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Appendix Diagram 1: Episodes Analyzed, Feeling, and Marker Count
Episode Name Season Number of Markers
Beauty is Pain 1 – “The Beginning” 10
Lili 1 – “The Beginning” 3
The Hurricane 1 – “The Beginning” 10
The Subway 1 – “The Beginning” 9
The Spark 1 – “The Beginning” 10
Dual Control Mode 1 – “The Beginning” 4 How to Become a
Princess
1 – “The Beginning” 13
The Lost Pardner 1 – “The Beginning” 7
Gina Gold 1 – “The Beginning” 26
Riis Park 1 – “The Beginning” 7
Kaitlin + Mitra – Pt. 1 2 – “Make/Break” 18 Kaitlin + Mitra – Pt. 2 2 – “Make/Break” 18
Desiray + Aaron 2 – “Make/Break” 18
Idiot + Dummy 2 – “Make/Break” 16
Mr. Claus + Mrs. Claus 2 – “Make/Break” 3