Listening to Voices: Creative Disruptions with the Hearing Voices Network

在精神卫生服务的背景下，语音听众通过“他者”语言和污名化标签感受到学术语言在日常生活中的影响。该项目旨在学习如何倾听“他人”，并通过建立一个跨学科和跨学科的倾听专业网络来对抗语言使用的压迫性结构。它汇集了语音听力网络、独立艺术家和学者，为创造性听力练习开发一套资源。这些利益相关者将合作设计项目活动和产出。“倾听声音”的问题是“学会一起倾听/以不同的方式倾听会是什么感觉？”创造性的倾听实践如何使个人和社区更加适应以前被边缘化、压抑或忽视的“他人”的声音？它将听力作为学院与外部人士之间有意义的交流和合作的场所，认识到苏格兰和北爱尔兰的听声小组是开发与多种复杂声音相关的创新和深思熟虑的听力实践的专家。同样，促进这项研究的早期职业研究人员也是三个不同学科的听力实践专家：在这种情况下，专注于一种跨学科的方法，涉及(1)诗歌，(2)音乐和(3)叙事文本的多种声音。这种交流的目的是打破知识和权力的等级制度，在这种制度下，“专家”学者对“主体”群体进行研究，然后创造再现这种权力结构各个方面的文本。这个项目产生的所有共同创作的文本都将受到“其他”声音的破坏性影响，创造性的手段（音乐、诗歌、抒情）将被用来在文本本身中显示这些破坏的结果。“文本”在拉丁语中是“组织”或“编织”的东西。由此产生的听力指南和所有其他输出（包括声音艺术作品）将使代表权威斗争的意义层在由声音听众、学者和艺术家的声音编织而成的合作制作的文本组织中可见。通过使创造性的破坏（例如，“覆盖”，擦除或注释）可见和可听，这些文本将突出协作过程中具有挑战性和意义的内容，以及写在“完成”文本结构中的权威政治。最终的聆听指南可从网站下载。这本书还将限量发行，并通过“听声网络”免费发放。它将提供给所有项目合作伙伴，并在2015年国际语音会议上分发。这些数据将构成共同撰写期刊文章的基础，这些文章将使用在创建和破坏听力指南中开发的创新听力实践，以重新想象学术写作实践，使学术文本中的“其他”声音变得明显和“可听”。学术实践可以强制压制某些形式的声音，但这些声音会重新出现，例如，在学术文本的脚注中，这些脚注成为允许“其他”声音（例如主观的，怀疑的，徘徊的，过度批评的，滑稽的）出现的地方。这些地方也清楚地反映了声音听力体验的某些方面，因此表明了上述专业知识形式之间的共鸣。这并不是说注脚的实践类似于听声音的经验，而是为了突出学术文本如何声称是客观的，理性的和权威的，并将主观的，个人的和多重的放在知识层次的底部，然而学术脚注揭示了这些文本本身总是已经包含了对他们认为是“他者”的知识类型的识别的内核。

In the context of mental health services, voice-hearers feel the effects of academic language-use in their everyday lives through 'othering' languages and stigmatising labels. This project seeks to learn how to listen to 'others' and to counter oppressive structures of language-use by building a trans- and inter-disciplinary network of expertise in listening. It brings together voice-hearing networks, independent artists and academics to develop a suite of resources for creative listening practices. These stakeholders will collaborate to design the project activities and outputs. 'Listening to Voices' asks 'what would it be like to learn to listen together/differently?' How might creative listening practices enable individuals and communities to become more attuned to the voices of 'others' previously marginalized, repressed or ignored? It focuses on listening as the site of meaningful exchange and collaboration between the academy and those outside it, recognising that Hearing Voices groups in Scotland and N.Ireland are experts in developing innovative and carefully thought out listening practices in relation to multiple and complex voices. Similarly, the early career researchers facilitating the research are also experts in listening practices developed in three different disciplines: in this case focusing on a cross-disciplinary approach that relates to the multiple voices of (1) poetic, (2) musical and (3) narrative texts. The aim of this exchange is to disrupt hierarchies of knowledge and power, where 'expert' academics conduct research on 'subject' communities and then create texts that reproduce aspects of this power structure. All co-created texts that result from this project will be subjected to the disruptive effect of 'other' voices, and creative means (musico, poetic, lyrical) will be used to display the results of those disruptions within the text itself. The Latin for 'text' is 'tissue' or 'woven' thing. The resulting guide to listening and all other outputs (including sound art works) will make visible the layers of meaning that represent the struggle for authority in the tissue of a collaboratively produced text, woven from the voices of voice-hearers, academics and artists. By making visible and audible the creative disruptions (in, for example, 'overwriting', erasure or annotations), these texts will foreground what is challenging and meaningful about the collaborative process and the politics of authority written over and into the fabric of the 'finished' text. The resultant listening guide will be downloadable from the website. It will also be published in a limited printed run to be given out for free via Hearing Voices Networks. It will be made available to all project partners, and distributed at Intervoice 2015.This data will form the basis for co-authored journal articles, which will use the innovative listening practices developed in the creation and disruption of the listening guide in order to re-imagine academic writing practices, in allowing 'other' voices within academic texts to become obvious and 'audible'. Academic practices can force the suppression of certain forms of voice but these voices resurface, for example, in the footnotes of academic texts which become places where 'other' voices (e.g. subjective, doubting, meandering, hyper-critical, comic) are allowed to be present. These places also clearly echo some aspects of voice hearing experience and therefore demonstrate resonance between the forms of expertise outlined above. This is not to say that the practice of footnoting is analogous to the experience of voice-hearing, but to foreground how academic texts claim to be objective, rational and authoritative, and place the subjective, personal and multiple at the bottom of a hierarchy of knowledge, yet academic footnotes reveal that these texts always already contain within themselves a kernel of recognition of precisely the kinds of knowledge they deem to be 'other'.