[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-152062-en":3,"doc-seo-152062-105":30,"detail-sidebar-cat-0-en-105":92},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},152062,13056712833777,"Paura","https://ap-avatar.wpscdn.com/davatar_29158cc5080c5b710cf443261637dec0",8,"Research & Report","Making It Heard - A History of Brazilian Sound Art","Making It Heard: A History of Brazilian Sound Art documents how artists, scholars, and communities shaped distinctive sonic practices in Brazil. Organized into thematic parts, it traces public authorship, radio and cassette cultures, low-technology economies, listening to fragments, and field recording methods. Chapters address noise, counter-traditions, engaged sonorities, and intersections of politics and gender, supported by detailed contributor research. The collection culminates in an afterword on how Brazilian sound art becomes audible.","Making It Heard  \nii  \nMaking It Heard A History of Brazilian Sound Art  \nEdited by Rui Chaves and  \nFernando Iazzetta  \nBLOOMSBURY ACADEMIC  \nBloomsbury Publishing Inc.  \n1385 Broadway, New York, NY 10018, USA  \n50 Bedford Square, London WC1B 3DP, UK  \nBLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc  \nFirst published in the United States of America 2019  \nVolume Editors’ Part of the Work © Rui Chaves and Fernando Iazzetta, 2019 Each chapter © of Contributor  \nFor legal purposes the Acknowledgments on p. xix constitute an extension of this copyright page.  \nCover design: Louise Dugdale Cover image © Paulo Bruscky. Música, 1978  \nAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers.  \nBloomsbury Publishing Inc. does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes.  \nWhilst every effort has been made to locate copyright holders the publishers would be grateful to hear from any person(s) not here acknowledged.  \nA catalog record for this book is available from the Library of Congress.  \nISBN: HB: 978-1-5013-4443-5  \nePDF: 978-1-5013-4445-9  \neBook: 978-1-5013-4444-2  \nTypeset by Integra Software Services Pvt. Ltd.  \nTo find out more about our authors and [books visit www.bloomsbury.com](books visit www.bloomsbury.com)[ ](books visit www.bloomsbury.com)and sign up for our newsletters.  \nThis book was made possible with support from the Fundação de Amparo à Pesquisa de São Paulo (FAPESP) .  \nContents  \nList of Figures vii  \nForeword: The Clash between Body and Artwork Ricardo Basbaum ix Acknowledgments xix  \nIntroduction Rui Chaves and Fernando Iazzetta 1  \nPart One Abre-Alas  \n1 Sounds from Elsewhere: Episodes for a History of Brazilian Sound Art  \nFernando Iazzetta 11  \n2 Making Oneself Heard in Public, through Art and in Sound-Based  \nScholarship Rui Chaves 43  \nPart Two Bateria  \n3 Music Is What I Make Vivian Caccuri 71  \n4 Radio Art, Cassette Culture, and Networked Artistic Practices:  \nThe International Ra(u)dio Art Show (IRAS) in Recife Yuri Bruscky 95  \nPart Three Barracão  \n5 Gambiarra’s Perspective Giuliano Obici 115  \n6 Listening to the Debris: Brazilian Sound Art and the Low-Technology  \nEconomy André Damião 133  \nPart Four Avenida  \n7 Being in the Field: Process, Narrativity, and Discovery in the Field  \nRecording Work of Thelmo Cristovam and Alexandre Fenerich  \nPaulo Dantas 153  \n8 Other Paths to Sonic Cartographies: “Mapa Sonoro CWB” and  \nIts Untethered Soundwalks Thaís Aragão 167  \nvi Contents  \nPart Five Batucada  \n9 Out of the Mainstream: Noise and Otherness in the Work  \nof Marie Carangi, Paula Garcia, and Sofia Caesar Lílian Campesato 189  \n10 Counter-Tradition: Toward the Black Vanguard of Contemporary  \nBrazil GG Albuquerque 211  \n11 Engaged Sonorities: Politics and Gender in the Work of Vanessa  \nDe Michelis Tânia Mello Neiva 229  \nAfterword: The Audibility of Brazilian Sound Art Ana M. Ochoa Gautier 249  \nNotes on Contributors 264  \nIndex 267  \nFigures  \n1.1 Despite the French costumes, this rare engraving, dated from 1613, claims to depict “true” Brazilian Indians dancing. Its title says: “These are the true portraits ofthe savages ofthe island of Maranhão called Tupinambás  \nbrought to the King of France by the Lord of Razilli. They are represented in the position they take as they dance.” Courtesy of Itaú Cultural—Coleção Olavo Setúbal. Photo by Eduoard Fraipont 13  \n1.2 Cover of Invention, 2 no. 3 (1963), in which the Música Nova mani","cbCaifbLyhZV3HRb","https://ap.wps.com/l/cbCaifbLyhZV3HRb","pdf",4767118,1,297,"English","en",105,"# Foreword: The Clash between Body and Artwork\n# Introduction\n# Part One Abre-Alas\n## Sounds from Elsewhere: Episodes for a History of Brazilian Sound Art\n## Making Oneself Heard in Public, through Art and in Sound-Based Scholarship\n# Part Two Bateria\n## Music Is What I Make\n## Radio Art, Cassette Culture, and Networked Artistic Practices: The International Ra(u)dio Art Show (IRAS) in Recife\n# Part Three Barracão\n## Gambiarra’s Perspective\n## Listening to the Debris: Brazilian Sound Art and the Low-Technology Economy\n# Part Four Avenida\n## Being in the Field: Process, Narrativity, and Discovery in the Field Recording Work of Thelmo Cristovam and Alexandre Fenerich\n## Other Paths to Sonic Cartographies: “Mapa Sonoro CWB” and Its Untethered Soundwalks\n# Part Five Batucada\n## Out of the Mainstream: Noise and Otherness\n## Counter-Tradition: Toward the Black Vanguard of Contemporary Brazil\n## Engaged Sonorities: Politics and Gender in the Work of Vanessa De Michelis\n# Afterword: The Audibility of Brazilian Sound Art\n# Notes on Contributors\n# Index","[{\"question\":\"How is Making It Heard organized?\",\"answer\":\"The book is structured into five thematic parts (Abre-Alas, Bateria, Barracão, Avenida, Batucada), each grouping related chapters on specific sound-art practices and contexts.\"},{\"question\":\"What topics are covered in the chapters?\",\"answer\":\"Chapters address public making and scholarship, radio and cassette culture, networked artistic practices, low-technology sound economies, listening to sonic debris, noise and otherness, and politics and gender.\"},{\"question\":\"What is the focus of the afterword?\",\"answer\":\"The afterword centers on how Brazilian sound art becomes audible, framing audibility as a key outcome of these historical and artistic developments.\"}]","Making It Heard - 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