Art Of Listening Research Articles

The Musical Semiotics of Voice in Distance: Some Reflections on the Question of Teleanalysis.

Within the context of the debate over teleanalysis, I wish to reintroduce the discussion of voice as the primary link between analyst and patient, a link present in analysis on the phone. Far from questioning the importance of the in-person analysis, I aim to emphasize the voice, the musical semiotics of emotions, as a critical, if not the most vital, aspect of psychoanalysis as a "talking cure" and an art of listening. Insofar as the speaking is instituted in the body, the body is present through voice, even in the virtual analytic room in teleanalysis. I argue that the need for the presence of the material bodies in the session is one aspect of the analytic rituals that, along with the room, the couch, and other power objects, set the stage for the continuous projection of the role identities of the analytic couple. In teleanalysis, the seductive nature of the analytic situation and the status differential are more salient in the analyst's office turf than in the patient's room.

The art of listening: a soldier’s life writing in the Jewish Legions

ABSTRACT In this article I uncover formerly undisclosed ego-documents by Baruch Gurevitz, a young soldier who served in the Jewish Legions formed in the British army in the First World War. Gurevitz recorded in his notebook conversations with Jewish legionnaires from different countries and varied backgrounds. These documents reveal how crucial the tales of individuals are for an understanding of the sources of Jewish nationalism shown here to relate to tiny sparks of consciousness rather than to the rhetoric of national leaders and ideologues. The documents also highlight an important, if sometimes forgotten, component of life writing: the art of listening.

The Art of Listening

Patricia Carini (1932–2021) was a progressive educator and thinker who was among the key figures of open education. This article reflects on her work, illuminating its quality as an art of listening. The idea of listening has been of primary importance within the tradition of progressive education in the United States and internationally. Progressive educators have listened to the spoken and unspoken words and expressions of children, to what is called in Reggio Emilia the “hundred languages” of children, resisting the modern school institution and its principle of efficiency. Following a brief history of Carini and the Prospect School in North Bennington, Vermont, this article describes the connection of Carini’s work to the public philosophy of John Dewey and exemplifies the listening quality of her work through stories of two children. Listening, Carini was ever learning from children. As an art of listening and learning, Carini’s legacy unites with today’s progressive efforts in education, inspiring the generations of educators to come.

THE TELLEGACY PROGRAM

Abstract Emerging research displays how social isolation and loneliness (SIAL) before and during the Coronavirus pandemic are linked to health issues caused by SIAL. These issues are estimated to increase the risk of early death by 26 percent, the equivalency of smoking 15 cigarettes a day. The program started soon after the pandemic as an intergenerational program created to combat SIAL among older adults. University students, known as Legacy Builders, connect through virtual or via phone conversations to communicate meaningfully with the older adult. Students are prepared with a curriculum on mindfulness, SMART goal-setting, growth mindset, visualization goal-setting exercises, and reminiscence therapy as well as the skill and art of listening. At the end of the encounters, a legacy book is given to the older adult with a description of the older adult’s life shared during their conversations with the Legacy Builder. The UCLA Loneliness Scale was utilized along with older adult self-reports. Sixteen residents in a memory care facility, ages 58 to 86, with multiple levels of dementia participated in the program of Summer 2021. The UCLA Loneliness Scale revealed that 13 of the 16 residents originally reported that they feel lonely or isolated. After 5 weeks of participation 7 out of the 16 residents report that they felt less lonely. Qualitative analysis showed improved perceptions of aging and an interest in Geriatrics among the student participants. These results also displayed positive older adult perceptions of the younger generation, and similar responses of the younger generation towards older adults.

Narrative and the “Art of Listening”: Ricoeur, Arendt, and the Political Dangers of Storytelling

Using insights from two of the major proponents of the hermeneutical approach, Paul Ricoeur and Hannah Arendt—who both recognized the ethicopolitical importance of narrative and acknowledged some of the dangers associated with it—I will flesh out the worry that “narrativity” in political theory has been overly attentive to story telling and not heedful enough of story listening. More specifically, even if, as Ricoeur says, “narrative intelligence” is crucial for self-understanding, that does not mean, as he invites us to, that we should always seek to develop a “narrative identity” or become, as he says, “the narrator of our own life story.” I offer that, perhaps inadvertently, such an injunction might turn out to be detrimental to the “art of listening.” This, however, must also be cultivated if we want to do justice to our narrative character and expect narrative to have the political role that both Ricoeur and Arendt envisaged. Thus, although there certainly is a “redemptive power” in narrative, when the latter is understood primarily as the act of narration or as the telling of stories, there is a danger to it as well. Such a danger, I think, intensifies at a time like ours, when, as some scholars have noted, “communicative abundance” or the “ceaseless production of redundancy” in traditional and social media has often led to the impoverishment of the public conversation.

Staging hydrophilic encounters – experiential methods for creating dialogic listening space

ABSTRACT This article explores hydrophilia, humans’ affective ties with water, through the development of a public storytelling methodology for exploring fluvial senses of place and expanding the fluvial imagination through the art of listening. This ‘watershed storytelling’ methodology was developed at the confluence of public cultural geographies, the environmental humanities, and oral history in response to calls for greater aesthetic engagement with fluvial landscapes and more inclusive ways of doing oral environmental history. In the absence of tangible bodies of water, we suggest that dialogic listening spaces can generate moments of perceptible feelings of connection, to others and place, through water. We call this affective event a ‘hydrophilic encounter,’ we believe it can open empathic capacities to feel, sense, and imagine our interconnectedness through water and place. We share this methodology as one route to publicly facilitate hydrophilic encounters, inviting readers to replicate and adapt this public geography practice within diverse communities interested in engaging public sentiments on the importance of water within regional and global contexts.

Erich Fromm y la relación educativa

En este artículo consideraremos el vínculo entre la obra de Erich Seligmann Fromm (1900–1980) y la relación educativa. Fromm aportó una perspectiva humanista fundamental al pensamiento contemporáneo y su obra se caracterizó por hilvanar variadas influencias culturales, tales como el Antiguo Testamento, el Budismo, el Marxismo, la Sociología y, desde luego, el Psicoanálisis. El objetivo principal del presente trabajo es el de comprender mejor esta relación, considerando sus características principales. La obra de este emblemático autor invita a reflexionar sobre aspectos diversos relacionados con la educación que van desde su concepto, sus finalidades, así como diferentes características de una buena relación educativa, temática que abordaremos en este artículo. Fromm aporta una perspectiva singular y sumamente interesante que abre espacios de reflexión a partir de variados aspectos sobre la existencia humana en sus textos. En este estudio hemos analizado doce de sus obras que van desde El miedo a la libertad (1941), El arte de amar (1956) o El arte de escuchar (1995). Este análisis ha permitido seleccionar aquellos contenidos vinculados a la relación educativa. Así consideraremos lo que Fromm entiende por educación, para posteriormente concretar cuáles serían las cuestiones más esenciales en una óptima relación educativa y qué la debe caracterizar.

La escucha (en la) crónica de Juan Villoro

Juan Villoro, consagrado en la Literatura Latinoamericana como narrador de ficción y autor destacado en el mercado editorial de Literatura Infantil, ha desarrollado de manera paralela una notable producción cronística que ha recibido escasa atención crítica. La lectura de estas últimas en conjunto con entrevistas dadas por el autor permitió advertir una autorrepresentación como cronista versado en el arte de escuchar. Tema que constituye la excusa para revisar parte de su producción con el foco en su oído atento a las expresiones y manifestaciones de la cultura masiva. Interesa aproximarnos a la escucha crónica, aspecto característico de su estética, a partir de analizar el lugar prioritario de la voz del locutor futbolístico Ángel Fernández, los vínculos con la contracultura mexicana y la construcción de un mito de origen que abreva de la cultura de masas.

Hacia una ontología del escuchar. Fundamento del diálogo intercultural

Desde una mirada metafísica perspectivista y raciovitalista se pretende hacer un análisis del “escuchar” extrayendo de ello consecuencias aplicables al diálogo y a las prácticas interculturales, con el objetivo de realizar un aporte teórico sobre el arte de escuchar para que se efectúe un cambio liberador en el diálogo humano y un rescate de actitudes y características positivas de escuchas entre diversas sabidurías, tendiente a superar el eurocentrismo filosófico – teológico occidental hegemónico

Decolonization Via New Understanding of Sufism

In examining such a multi-layered phenomenon as Islam (like any other religion) one finds themselves at the crossroads of competing views, between and beyond orthodox and reformist. A number of “invitations” for decolonization from prominent Sufis allows representing Islam not as a network of horrifying mujahedeens, but as a real and genuine discourse community. The topic of decolonization covers our common East-West colonial heritage as well as the colonial contemporaneity. Thus, in addition to Rumi and Nietzsche, the work relies on philosophers of Khorasan, composers of Tajikistan, and modern Western philosophers of decolonization to build a strong basis for the topic. Sufi decolonization not only provides an opportunity to imbue the Platonic project on the connection between ontology and epistemology but also produces a possibility for constructive awareness of everything that was, and is, for the benefit of me-you, community, and communion of communities. This vision indicates the need for a multitude of combinations of knowledge and experiences, as well as for consideration of constant movements of the former and the latter. The lack of “multiplicity” in today’s world pushes us to a place, where we might at once get used to devices that “think” for us and “listen” to each other for us. The simplicity of such a picture is that this vision of society (and history) does not blame current “deafness,” but rather proposes for all of us, not only Muslims, to recognize the need to “return” to the ability to “listen” to each other. Within this framework, the article demonstrates the significance of the art of listening (as in the Arabic, sama), which embodies a double mysticism - the ability to listen with both ears and heart. On this basis the project of the intellectual community is being proposed; a project rooted in an organic unity of man and the world, which Ibn Sina described as odam va olam (in Tajik-Persian language). In these series of “invitations” through the prism of the heritage of east-west philosophy, there is an aim not to shelter oneself from the Eurocentric western theory of International Relations (IR), but rather to provide an opportunity to think about building a “post-Western” project, or otherwise a project based on the union between man and world (in Tajik-Persian, odam va olam).

The art of listening.

Following in her mother’s footsteps, Liz Charalambous was inspired to work with older people. With 30 years’ nursing experience, she speaks to Clare Lomas about the importance of balancing evidence-based practice with intuition. Now she inspires others with her passion for the specialty through writing for publication

Like an Elephant Pricked by a Thorn: Buddhist Meditation Instructions as a Door to Deep Listening

Like an Elephant Pricked by a Thorn:Buddhist Meditation Instructions as a Door to Deep Listening Willa B. Miller The phrase “deep listening” has been circulating in recent years in the contexts of contemplative education, psychotherapy, pastoral care, and the arts. This article is a reflection on deep listening from a Buddhist perspective, as it might support the ongoing development of career educators, although this reflection might apply equally well to ministers and (in the Buddhist world) dharma teachers. My motivation to contribute to this discourse of listening is spurred by the belief that the effectiveness of educators, ministers, and dharma teachers might be enhanced by training in the art of listening. These career professionals share a key aspect of their role in common: They get up in front of groups of people to teach or preach. In this performative role, it is possible for teachers (or preachers) to become so accustomed to being the source of information that a dynamic is created, inside and outside the classroom or pulpit, in which discourse is weighted primarily in one direction. This dynamic, I would argue, prevents optimal learning and stunts the feedback loop necessary for pedagogical health, both for students and for their educators. Listening, as a valued pedagogical discipline on the part of the teacher, has the potential to rebalance this dynamic. To educate effectively, we need to come to know the hearts and minds of those we educating, not as a theoretical group but as individuals. It takes time, effort, patience, and a dose of curiosity to listen attentively to students, to get to know them. But this effort is worth it. Only once we begin to listen to the voice of their interests, passions, and history can we begin to understand or assess their needs. Every human being is in formation. Every human being is completely unique. Listening, with curiosity and attention, is a window into the formation of the human being in his or her uniqueness. To the degree that we become familiar with the unique in our students is the degree to which we can effectively meet them where they are. There are as many definitions of deep listening as there are theorists. On a panel on the topic of deep listening at the 2013 American Academy of Religions meeting, Duane Bidwell of the Claremont School of Theology aptly noted that deep listening is [End Page 15] “an undertheorized category.” It is not a term that has been claimed by only one field or person, but it has become popular in some religious circles and psychotherapeutic circles as a term that implies that listening can dive below the surface contents of a narrative. Two years ago, in a chapter of an anthology titled The Arts of Contemplative Care, I proposed that Buddhist practices of self-cultivation may provide models that can be adapted for applications of deep listening in a context of spiritual care.1 In that chapter, I noted that Patrul Rinpoche’s three points of “how not to listen” found in The Words of My Perfect Teacher (Kun bzang bla med zhal lung)2 can help us reflect on the difference between poor and effective listening techniques in the context of spiritual care. In this article, taking a similar approach but with different material, I will explore how instructions on meditation culled from the Tibetan Buddhist tradition can be adapted to develop a discipline of deep listening for educators. In exploring this topic, I will also propose a definition of deep listening to act as support for the discipline itself. Specifically, I draw on religious instructions found in a Tibetan genre called “māhamudrā meditation instructions” (phyag chen sgom khrid), from within the Kagyu (‘brug pa bka’ brgyud) school of Tibetan Buddhism, to construct a definition of deep listening for use in educational contexts. The term “deep” (zab mo) often appears in Tibetan religious exegesis as an adjective modifying the word “dharma” (teaching). There, we find the term “deep teaching” (chos zab mo) juxtaposed with the term “vast teaching” (chos rgya che ba) in Tibetan commentaries. To say that a teaching is deep (zab mo) in the Buddhist context is to indicate that it...

Radio documentary production as cognitive mapping in sound: The making of La Frontera

Abstract In response to the depthlessness and fragmentation of postmodern experience, Marxist literary critic Fredric Jameson offers the anticipatory and utopian concept of cognitive mapping. Cognitive mapping holds out the promise for radical social transformation, in times when such possibilities can seem remote. One of the limitations of Jameson’s articulation of cognitive mapping is that he does not offer a viable practice of cognitive mapping. The making of the radio documentary, La Frontera: A journey into the borderlands of Mexico and the United States, is an experiment in cognitive mapping in sound, grounded in an emergent practice: the art of listening. To draw out and explain the thinking and practices that constitute the making of La Frontera, I examine the pre-production, production and post-production phases in turn. To conclude I draw out the implications of this experiment for the field of radio studies.

Essential Paths to Life after Residency

Essential Paths to Life after Residency

The Art of Listening in an Educational Perspective

The purpose is to contribute to the theory and practice of listening reception as one of the four language arts in Swedish as a school subject. The object of inquiry is The Art of Listening (Adelmann 2009) as a Swedish example from a Scandinavian context, compared to mainstream listening research in the USA. The problem explored is: How can we, as researchers and teachers, handle some of the problems within international listening research and adapt listening research to a Scandinavian context. Results of the study show that The Art of Listening is mainly influenced by listening research in the USA, but also offer an alternative theoretical framework for listening by the Russian scholar Mikhail M. Bakhtin (1895–1975). The main conclusion is that with an educational approach and an alternative theoretical framework it is possible to work with an expanding and including perspective in listening research and listening education.

Why is nobody listening?

Two weeks before the break-up for the summer holidays I was running a training course on the importance of developing listening skills in the classroom. Disappointingly only two NQTs enrolled. Granted, it was not the greatest time to be running a course, but even so it made me wonder about just how much we value the art of listening. And if we do not value something, how much time and consideration are we likely to give it? I still ran the course, but inside I was shouting from the rooftops: ‘Why is nobody listening?’

The Lost Art of Listening. How Learning to Listen Can Improve Relationships (Second Edition)

The Lost Art of Listening. How Learning to Listen Can Improve Relationships (Second Edition)

Communication with the Other and Moral Answerability in Mikhail M. Bakhtin

When Bakhtin must qualify himself he calls himself a ‘philosopher’ and when he must name his research he calls it ‘philosophy of language.’ Bakhtin practices what we may call ‘philosophy of otherness’ which produces a real and proper revolution—the Bakhtinian revolution as recites the title of one of my monographs on Bakhtin—which consists in placing the other instead of the I at the centre of his thought system. Bakhtin says that in aesthetic terms the I is entirely unproductive, just as it is unproductive when a question of constructing a philosophy of responsible action, a philosophy of language free from the “langue”-“parole” dichotomy and from subjectivistic interpretations of speech in terms of “expression:” philosophy of language according to Bakhtin turns its attention to the word of the other, and is delineated in terms of the “art of listening.”

Is the first seizure truly epileptic?

Transient loss of consciousness (T-LOC) with abnormal posture or movements reflects a temporary dysfunction of the brain, either primary or secondary. In a period of high technological medical access, patients with T-LOC constitute a challenge to improve the medical "art of listening." The difficulty in dealing with isolated paroxysmal phenomena is associated with the probability of the occurrence of a second event and therefore the entrance of the patient into a chronic disorder. We present a detailed analysis of symptoms that should help the general practitioner in the differential diagnosis among three main entities in the adult populations: syncope, epileptic seizure, and psychogenic seizure (dissociative convulsion).

Der Tonwille: Pamphlets in Witness of the Immutable Laws of Music, Offered to a New Generation of Youth (review)

Tonwille: Pamplets Witness of Immutable of Offered to New Generation of Youth, vol. 1. By Heinrich Schenker. Edited by William Drabkin. Translated by Ian Bent. New York: Oxford University Press, 2004. [xx, 231 p. ISBN 0195122372. $150.00.] Index. Der which roughly translates as the will (desire or egotism) of tone is name given by Schenker to series of pamphlets, of roughly fifty pages each, issued between 1921-24 by Universal Edition that contain essays addressing various topics field of music. Considered by its editor to be a central work-in several respects central work-in Schenkerian canon (p. vii), Tonwille contains three basic types of essays: (1) analyses of individual pieces; (2) essays of theoretical nature; and (3) writings of nature. Each issue, moreover, contains section of miscellany (Vermischtes) containing observations on various aspects of music and politics, although it should be noted that each type of essay commentary is not far from surface (p. ix). content of Tonwille chronicles genesis of probing insights into tonal music for which Schenker is known as well as that of accompanying graphic analytic notation. concepts of Urlinie and Ursatz, for example, are expounded upon detail for first time these pamphlets. former receives its first thorough treatment first issue (The Urlinie: A Preliminary Remark), and latter is mentioned for first time miscellanea of issue 5. Taken together, Urlinie and Ursatz form ultimate conceptual basis of Schenker's view of tonal structure. publication of complete translation of Tonwille by Oxford University Press is laudable achievement; Englishspeaking musicians will now have at their disposal most of Schenker's principal theoretical works (the four Erlauterungsausgaben of Beethoven's piano sonatas and Schenker's early journal essays remain untranslated). Prior to this publication, translations into English of individual essays were scattered throughout scholarly literature, with most comprehensive set of excerpts found Robert Joseph Lubben's dissertation (Analytic Practice and Ideology Heinrich Schenker's 'Der Tonwille' and 'Cantata Harmonia Mundi' [Ph.D. diss., Brandeis University, 1995]), which contains translations of twelve of essays. ten pamphlets of Tonwille have been available one volume since 1990 photographic reprint by Georg Olms Verlag with preface by Hellmut Federhofer. subject of this review is first half of new English translation (issues 1-5); second volume containing second half (issues 6-10) is projected for 2005. In analytical essays, of which there are eighteen this volume, of analysis . . . are generally followed by remarks on autograph materials and early editions, and on editorial issues arising from them; recommendations on performance, relation to both analytical and text-critical discussions that precede them; and finally dismissive survey of secondary literature (p. viii). pieces discussed individual essays include six by J. S. Bach, three by Beethoven, two each by C. P. E. Bach, Haydn, and Mozart, and one each by Handel and Schubert. It is unfortunate that, since present volume contains only first five issues of ten that comprise Tonwille, only two-thirds of analysis of Beethoven's Fifth Symphony is present (the final segment occurs sixth issue). theoretical essays, of which there are five, are concerned with such matters as musical structure, history, and perception; but they are more philosophical tone (p. ix). These essays include The Urlinie: A Preliminary Remark, Laws of Art of Music, History of Art of Music, Yet Another Word on Urlinie, and The Art of Listening. political writings include lead essay (The Mission of German Genius) as well as generous sprinkling throughout four sections of miscellany (so much so that, one instance, Emil Hertzka, executive editor of Universal Edition complained that in fourteen pages of 'Miscellanea,' [for issue 2] no topics whatsoever field of music are examined, but only topics field of politics and demagoguery (p. …