"Sociologist of education Annette Lareau is renowned in her field for her compassionate ethnographic work and the insightful ideas she's able to draw from it. With Listening to People, she has given us an extremely practical guide to doing the kind of work she has been celebrated for. Lareau covers just about everything a social scientist needs to know--formulating a topic and honing it down to a good research question, obtaining IRB approval, finding a site and making introductions, conducting high-quality interviews and participant--observation, taking good notes and writing them up later, analyzing the data, and best of all, making clear how much the data analysis and the writing are part of the same process. Her tone throughout is about as straightforward as it gets, and she very generously shares stories of her own mistakes, missteps, and anxieties. Written for students and scholars in sociology, education, communications, social work, and possibly political science, anthropology, and related fields, the book will be an indispensable guide for graduate students and faculty in the social sciences (broadly conceived), and is even suitable for undergraduates"-- Provided by publisher.
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Inter)nationally there is discussion about whether auditory processing disorders (APD) should be seen as a unique clinical diagnosis and what is the most appropriate diagnosis and referral of children in this target group. In this context, the Dutch Audiological Centres (AC) have different care pathways for children with so-called unexplained listening difficulties. The purpose of the current document is to provide professionals with tools to identify, diagnose and treat children with listening difficulties. The Dutch Position Statement Children with Listening Difficulties has been developed based on current scientific evidence of listening difficulties, and based on meetings held with professionals. Professionals in the Dutch Audiological Centres have reached a consensus with the following 9 statements: Definition: (1) The target group 'Children with listening difficulties' is not a unique and demonstrable clinical entity. (2) The problems of children with listening difficulties are multimodal. (3) The symptoms of children with listening difficulties may also occur in children with other developmental disorders such as AD(H)D, DLD, dyslexia and learning disorders. Detection and referral: (4) After detection of listening difficulties, children can be referred to a multidisciplinary centre. Diagnostics: (5) When diagnosing a child with listening difficulties, an audiologist, a speech language therapist and a behavioral scientist must be involved. (6) Listening difficulties are initially mapped using patient history (with client-centred focus) and, if available, a validated questionnaire. (7) In the case of children with listening difficulties, a speech-in-noise test is always carried out in addition to the pure tone and speech audiometry (8) The diagnostic procedure for listening difficulties starts from a broad perspective on development. Therapy: (9) For children with listening difficulties, intervention is focused on the client’s needs and focuses on action-oriented practice. This document informs professionals in the Netherlands, who are working with children who are referred because of listening difficulties in the absence of hearing loss, about the current evidence available and about the consensus in the Netherlands.
The essays collected here are based on two decades of engagement with the residents of the slums of Govindpuri in India’s capital, Delhi. The book presents stories of many kinds, from speculative treatises, via the recollection of a thousand everyday conversations, to an account of the making of a radio documentary.Zig-zagging through the lanes of Govindpuri, Listening into Others explores the vibrant sounds emanating from slum culture. Redefining ethnography as listening in passing, Chandola excels at narrating the stories of the everyday. The ubiquity of smartphones, sonic selfies, wailing, the ethics of wearing jeans, the crossroad rituals of elections, the political agency of slum-dwellers, the war of the sexes through bodily gestures, and conflicts over ownership of both property and sound generated in the slums — these are among the many encounters Chandola opens up to the reader.Slums are anxious spaces in the materiality, experience, and imagination of a city. They are the by-products of the violent and exploitative mechanisms of urbanization. What becomes of the slum-dwellers, who universally, across centuries, cities and continents, befall similar fates of being discriminated, reckoned to be the scum of the earth, and a burden on society? By listening to identified others and amplifying their voices in their own vocabularies and grammar, Tripta Chandola’s praxis creates a methodological, political, and poetic rupture. Slums, she finds, are not anathema to the city’s past, present, or future. They are an integral component of urbanization and a foundational part of the city.With Listening into Others, Tripta Chandola poses the question: ‘Who owns the slum, and who determines which voices are heard? From where you are, listen with me.’
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The primary objective of this research is to develop the new practical methodology of "Vocalising Resonance", as a development of existing methods. The approach intends to involve artists and citizens in a multi-sensory engagement with their surrounding environment, by collectively utilizing the 'physical', non-semantic voice as a tool for communication. This methodology's creation is rooted in the application of artistic research to well-formulated arguments within contemporary humanities studies. It also incorporates existing approaches for engaging with sound and voice in a multisensory and multidisciplinary manner. Musicologist, Nina Eidsheim argues that music research should not solely focus on the figure of sound, but should also delve into the materiality of sound as vibration (Eidsheim, Sensing Sound). Similarly, this research aims to explore the voice as an experience connected to the whole body and senses, rather than simply hearing. Several existing strategies offer starting points. The second objective of this research is to investigate how the proposed methodology of "Vocalising Resonance" may have a transformative impact on participants' consciousness, by increasing their exposure to diversity and facilitating their realisation that persons in the literal meaning of the word are “the speaking through - sonare + per- the masks that make up our social selves”(Scapp, A Question of Voice). Broadening the scope beyond traditional norms, the project paves the way for a more inclusive, sensorially rich understanding of performing arts, inviting a holistic approach that goes beyond typical categorisations, enhancing the immersive nature of performances. It prompts reflections on the significance of an audience to define a voice, the essence of a voice irrespective of language, and how the non-semantic use of voice serves as a powerful interdisciplinary communication tool within abstract performance contexts. This process seeks to offer a new perspective and transform our practices.
In this project I conduct a combination of both artistic and design research that produces an intervention in the domains of Photography and BioArt. BioArt is an art practice where artists work and/or collaborate with living organisms and life processes to create works of art and/or artistic processes. This research connects to the description of the ‘Arts + Creative PD programme’ on the basis that this – again: both artistic as well as design – research responds to a question arisen from the very centre of my own creative practice, but that its relevance focuses on an intervention in specific social-political contexts. Further detail on this can be found in the ‘Praktijkprobleem’-section and in the ‘Domeinspecifieke onderdelen’- section of this proposal. The research is grounded in a combining of artistic, design and scientific (microbiological) methodologies, resulting in an intervention not only into the practice, but also in the ethical foundations of the domains of Photography and BioArt.
