Studies of sound are often overly determined by an emphasis on the physical, stable agents of a process, despite, or because of, sound's assumed ephemerality. The sounding body, sonic technologies, and the sonorous object all enjoy pride of place in studies of sound's mediation of the social and the political. What gets filtered out of this frame of reference, however, is the cultivation of sustained sonic practices that are sound's conditions of possibility. Whether artistic, documentary, healing, or listening-based, sonic practices and processes necessarily tune us into the work of building, developing, and cultivating that prepares the sounding body and the sound object to enter the world.
How are sonic practices built while sounding bodies fight? What sonic creative processes are suited to what political ends? This panel proposes a shift in focus from the objects of sound studies to the practices from which they arise. How can a sonic artistic practice contribute to indigenous sovereignty and black liberation? How does the practice of audio journaling prepare one for a fight against neoliberal negligence during the AIDS crisis? We welcome proposals on any topic related to the material practices of sonic worldmaking and their relationship to struggle, critique, and resistance.