Tention on their sonic and haptic frequencies and on

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tention on their sonic and haptic frequencies and on the grammar of black fugitivity and refusal that they enact reveals the expressiveness of quiet, the generative dimensions of stasis, and the quotidian reclamations of in- teriority, dignity, and refusal marshaled by black subjects in their persis- tent striving for futurity.
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notes Introduction 1. Azoulay, The Civil Contract of Photography , 16. 2. Gilroy, The Black Atlantic , 37. 3. One of the most moving examples of the affective tactility of sound is the experience of deaf people listening, responding to, and producing music. There are numerous instances of deaf people experiencing sound and en- joying music in particular through physical sensations. This capacity to ex- perience sound in ways that bypass hearing and the ears has been explored most notably by the National Orchestra of Wales, which staged a series of workshops and concerts for deaf children who passionately responded to the music of the orchestra by lying on specially designed “sound boxes” through which they “listened” by feeling the contact of sound waves on their bodies. Aharona Ament describes these embodied sonic sensations as “feelings that hum along the body when the music infiltrates the molecules in the walls and in ourselves as well.” See /beyond_vibrations_the_deaf_musical_experience/; /news/entertainment- arts-21601130. 4. Perec, Species of Spaces and Other Pieces . My thanks to Anne Garreta for pointing out this useful reference. 5. In her 2011 essay, “Photography,” Ariella Azoulay argues that no individual is ever in sole control of what she describes as the “event of photography.” She explains, “The camera generates events other than the photographs an- ticipated as coming into being through its mediation, and the latter are not necessarily subject to the full control of the agent who holds the camera” (70). Azoulay further differentiates between the event of photography and the photographed event that a photographer attempts to capture. “Both the
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120 Notes to Chapter 1 camera and the event that it catalyzes are for the most part restricted by the skilled gaze of the spectator in order to see the ‘thing itself,’ that is to say, that which will become the photographed event. But the rendering marginal of the event of photography, displays of indifference toward it or even the attempt to ignore it altogether can never obliterate its existence or the traces that this event which occurs between the various partners of the act of photography leaves on the photographed frame” (75). Azoulay makes two significant con- clusions that undergird my own approach to engaging quiet photography. First, “The photograph is a platform upon which traces from the encounter between those present in the situation of photography are inscribed, whether the participants are present by choice, through force, knowingly, indifferently, as a result of being overlooked or as a consequence of deceit” (76). Second, “The event of photography is never over. It can only be suspended, caught in
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  • Fall '11
  • black futurity, Gulu Real Art, Real Art Studio

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