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Over the past 20 years, many cities across the United States have adopted a range of information and communication technologies (ICTs) to make it easier for residents to get informed, communicate their preferences, and hold public officials accountable. In this paper, we ask two questions. First, are service requests and responses illustrative of existing neighborhood differences across a city? Second, do patterns of request and response differ by the type of complaint made to the city? We leverage data from the city of Milwaukee, Wisconsin, to examine neighborhood variation in service requests and subsequent response times to those complaints. Our analysis makes a number of important contributions to the current literature on ICTs, including providing a more nuanced understanding of how types of requests vary by neighborhood context, and a more comprehensive picture of how requests and response times reveal social and racial disparities across the city.

We are proud to introduce this special issue that was inspired by the 2019 International Girlhood Studies Association (IGSA) conference at the University of Notre Dame (IGSA@ND). At that time, we were not yet acquainted with each other beyond exchanging pleasantries and knowing of each other’s academic profiles. Yet we came together as three co-editors and scholars committed not only to the diversification of girlhood studies but also to the larger project of social justice for all. We want to promote such work through this special issue and, in the process, expand perspectives and practices within the field of girlhood studies, as many before us have done.

This article discusses haunting as a condition and strategy for Black women in their lived and literary experiences. I use the haint as a key figure for understanding Black women's liminal state as both the ones haunted and the thing haunting and focus on one of the haint's primary manifestations: the hag. Throughout the essay I unpack maligning myths of this specter and center the works of Phillis Wheatley and Lucille Clifton to refigure the hag as a spiritual and ancestral presence.

This paper, primarily, explores the extent to which Fred Khumalo’s novel, Bitches’ Brew, can be considered a jazz novel by looking at both its subject matter and form. It argues that the transgressive power of Khumalo’s novel lies in its use of epistolary form as a narrative strategy that is akin to a jazz solo, marked as it is by a dialogical narrative that is similar to the call and response pattern that bears an affinity to a jazz performance. In terms of the subject matter, the central thrust of the argument is that the over-arching predominance of sex and violence in the text threatens to overshadow the musicality of the text, even as masculinity and misogyny are considered as the other side of the coin of jazz. In its exploration of the jazz and gender interface, this paper highlights how the phallocratic logic that informs and dominates the novel is indicative of the fact that Khumalo may have ‘pushed the envelope’ too far in his representation of masculinity and misogyny in jazz culture in his writing of this work. That Khumalo's novel fails to interrogate the relationship between jazz and black masculinity, but rather endorses and valorises it, serves to reinforce the stereotype of misogyny in jazz culture. Keywords: Fred Khumalo, Bitches’ Brew, jazz, musicality, masculinity, misogyny

This article responds to J. Aaron Simmons’ concerns that James K.A. Smith’s methodology for confessional pentecostal philosophy prohibits philosophical dialogue with the confessional Other. Its responses specifically address Simmons’ proposed personal methodology and his two main concerns about Smith’s methodology: (1) confessional philosophy allows an encroachment of theology into philosophy that threatens the autonomy of philosophy; and (2) confessional philosophy discourages philosophical dialogue with the confessional Other, and promotes insularity and defensiveness by utilizing theologically determinate evidence that act as incommensurable authority structures. The first section of this paper exposits Simmons’ other works that illumine the reasons for his concern. Specifically, it identifies Simmons’ Thomistic view of reason and new phenomenology’s commitment to the hypothetical status of God-talk as the reasons for Simmons’ opposition to Smith’s confessional philosophical method. After clarifying Simmons’ own position, the second section addresses Simmons’ concerns that confessional philosophy promotes epistemic arrogance, defensiveness, and dialogical insularity. Moreover, it provides five responses to Simmons’ concern that confessional philosophy utilizes incommensurate authority structures and that it threatens philosophy’s autonomy through the incursion of theology. The paper concludes with a reflection on the current state and future of pentecostal philosophy

We investigated the ontogenetic changes of two call types, the inquiry call and the response call, which comprise an interactive communication system in Spix's disc-winged bats, Thyroptera tricolor. We documented structural changes on both inquiry and response calls during ontogeny by recording single individual vocalizations in a flight cage and triggering response calls with playbacks of adult inquiry calls. Most ontogenetic changes in response calls were sex dependent. In addition, individuality was high for both call types across age categories. Despite the observed changes during development, both call types resembled the structure of adult calls from early ontogenetic stages, suggesting little influence of social learning in call development. Finally, we found sex dependent ontogenetic changes and high levels of individuality of calls early in life, which may indicate additional functionality in sex and pup recognition. Overall, the findings bring novel insight into the complex developmental process of the call types comprising the communication systems of Spix's disc-winged bats, and contribute to a better understanding of signal development in complex social communication systems.

In this essay, the varieties of refrain structures used in the body of Jewish Palestinian Aramaic poetry from late antiquity provide a laboratory for examining the intersection of acclamation structures and piyyutim. The fact that these poems were written in the vernacular of the community rather than in Hebrew complicates our understanding of their performative setting but at the same time may make it easier to consider a variety of potential modes of community engagement, as we are not constrained by the potential norms of a fixed liturgical setting. The analysis offered here, tentative as it may be, helps us understand both the auditory world of Late Antiquity and the active participation of Jews in the shaping of their soundscape.

Author(s): Magee, Liam | Abstract: As the oldest surviving film by an African American director, Oscar Micheaux’s Within Our Gates (1920) has been the object of considerable curiosity as both a historical artifact and a formative work of Black art. Of particular interest is the densely intertextual nature of the film’s narrative, which takes substantial cues from many tropes common to race fiction of the early twentieth century. This is perhaps most clearly evidenced by the film’s opening hour, which plays out as a nearly exact specimen of the racial uplift stories that dominated the era’s Black literary scene, and by its final five minutes, which clearly replicate the marriage plots that defined contemporary women’s literature. Crucially, these allusions—and, more importantly, the optimistic racial and socioeconomic philosophies they entail—are complicated by the presence of a late flashback sequence whose traumatic contents, rife with brutal racial and sexual violence, seem diametrically at odds with the idealism that defines the rest of the film. This paper investigates this seemingly problematic tonal disjunction by seeking to examine the flashback in its proper narratological context, exploring its aesthetic roots in mediums as diverse as newsprint, novels, and lynch photography, in order to better understand the ways in which the flashback’s inclusion modifies—or even challenges—the film’s dramatic thesis. The argument is finally made that the flashback’s disruptive nature is in fact its greatest strength, generating a complex interrogation of the platitudinous narrative archetypes that define both the remainder of the film and the race literature of Micheaux’s time.

Betye Saar: Call and Response. Exhibition organized by Carol S. Eliel. Los Angeles County Museum of Art, September 22, 2019–April 22, 2020Carol S. Eliel. Betye Saar: Call and Response. Exh. cat. Ne...

This article discusses how we, a US poet and a UK visual artist, opened an enmeshed space of creative practice in collaborating on a site-specific film, ‘To Shining Clough’. The film’s grou...

One Buzzy Evening (2017) for tenor trombone and percussion is a creative musicological work that explores the gradual transformation of limited motivic ideas, both rhythmic and melodic. Moving from a percussive sound world to a mixture with melodic sounds, the piece attains structural logic by foregrounding its dialogic character in the form of call and response and/or imitations, as well as through pointillism. It simulates the Kiganda xylophone technique in the vibraphone and, more interestingly, employs a distorted version of a pentatonic scale. In doing so, the piece blends indigenous Kiganda musical idioms and processes, as well as Western techniques, while intentionally concealing the former.

For a moment in time, music-based videogames were tremendously popular, yet we know little about how and when knowledge learned from these games can transfer to other music tasks. This paper presents a study of transfer from the game Rock Band to within-game and non-game musical tasks. Thirty-four undergraduates with low to moderate prior Rock Band experience participated in the study. For initial instruction, they were randomly assigned to either a Drill condition, using the built-in training feature of the videogame, or a teacher-led Lesson condition which focused on strategic and procedural knowledge of drumming techniques. Non-game transfer tasks included: (1) drumming along with music sequencing software (GarageBand), (2) a call and response task, and (3) a task where participants commented on the technique of other drummers. Results showed that prior experience with Rock Band was a significant predictor for the GarageBand transfer tasks but not for the call and response or commenting tasks. Both instructional conditions performed equally well on Rock Band tasks, but those in the Lesson condition performed better on commenting tasks, as well as on GarageBand tasks after controlling for Rock Band skill. These findings replicate and extend prior research on the ability of game play experience to transfer to non-game musical tasks, while adding the finding that traditional lessons can effectively augment in-game learning experiences.

This work is a case of a worlding with every wording, where material textuality creates a poetic space for thick description that helps me see the world as textual material. A thing, the blue case, with a bare handle on itself, offers relations that write me as and to and with my family, creating ‘the blue case’ as another thing for us to handle. The actual and virtual matter forms and reforms in these relations. As these relations unfold and refold, the blue case and ‘the blue case’ condense and expand, holding more and less than I expect. Those dull abstractions, the object and the objective, are not to be found here. Rather, I write towards ‘subatomic, atomic and molecular forces’ that are subjects in relation (Goodman 2018: 11). Words, too, the call and response of language, are part of this relational material play. The work is carried by this force, where language is ‘etymologically calling forth what the tongue does’ (Campbell 2020: 4). My tongue is untied and then, redrafted, tied again, as the blue case and ‘the blue case’ become differently attended and expressed.

Gamelan digitization is one of the efforts to introduce and preserve traditional Indonesian musical instruments not to become extinct. The focus of digitization in research is only on one type of saron musical instrument because the saron instrument is the main melody in a gamelan instrument that can be played individually and is more harmonious when played in collaboration. The most important thing in playing gamelan instruments is playing several types of musical instruments at the same time, especially the saron instrument. In using the saron instrument itself must be played collaboratively according to the tempo. For this reason, to make the interaction design model, the Call and Response System method is used, which has a “your turn” indicator and the Rhythmic Emphasis Weighting method connected to the “Techno Rhythm Monitor”. The application of the two methods above, the interaction design modeling design uses the Design Thinking method. The research testing using the System Usability Scale (SUS) because the results have a high level of validity for a study. The test results from research using the Call and Response System and Rhythmic Emphasis Weighting methods resulted in an interaction design model playing the saron musical instrument that can collaborate according to the tempo. For the test results using SUS, which obtained a final result of 85%, it is at level B and means that the interaction design model that has been designed is acceptable because it has met the user’s goals (proper).

Jean-Louis Chrétien founded his phenomenological enquiry on an analysis of the word as defined by the call and response link. His analysis provides an in-depth approach to spiritual experience as a basis for authentic religious experience. The description of the theoretical sites in which he confronts the theme of the spirit (vital breath, Holy Spirit, inspiration of Scripture, and spiritual life and prayer) determines some fixed points that allow us to define spiritual experience as intersubjective and fleshly, and therefore, not reducible to solipsism and intimism.

“Call and Response: American Dominican Artists and Vatican II” describes the work of fifteen American Dominican artists as each exemplifies or anticipates the priorities of the Second Vatican Council. Each artist personifies the response to a specific call: to reanimate the original scriptural and historical roots of the religious congregation, to provide leadership in liturgical renewal, to feed the spiritual hungers of the poor, to spread the gospel of justice through contemporary means of social communication. As Dominicans, these artists fulfill their vocation to preach the gospel in the multiple languages of genres ranging from design of sacred space and liturgical music to folk art, musical theatre, videography, and film. Most of the men and women chosen here to demonstrate this theme are active members of the Dominican Institute for the Arts, a national support group whose mission is to promote preaching through the arts.

This paper presents part of a poetic ‘call and response’ exchange between two poets who have never met. It shares the contemplative witnessing and ‘responding’ of an Australian poet to the poetic ‘calls’ of an Indian poet. Whilst the focus for the project was exploring the physical geography of place, the style of the Indian poet’s calling poems – and indeed the Australian poet’s responding poems – were entangled with ideas encompassing much more than geography. Dreams, desires, despair, loss, and hope wove around, and in ‘place’ of, geographical descriptions. The inquiry process was imperfect, and traversing time differences, language, culture, ways of understanding, and technology to share lived lives was no easy task. Yet, aesthetic methods invited socially and ethically engaged scholarship and contemplation. This paper offers glimpses of how two women poets produced poetic data to explore and witness lives and see and be moved by the other.

This chapter considers the work of the Unbound Collective as it relates to repatriation. Bound and Unbound is a series of performances and exhibitions in which we explore complex ideas of being both bound and free; what we are bound to historically and, as sovereign people, what we choose to (un)bind ourselves to and from, both now and into the future. Our work engages Aboriginal community members who have historically been contained and excluded within and beyond the boundaries of Adelaide’s so-called ‘cultural precinct’ which contains the museum, state library, and part of the state archives. When our ancestors’ voices are heard and listened to, this compels a call and response engagement with the broader Aboriginal community. We can all speak back through individual and collective Sovereign Acts. As a collective, we use critical-creative praxis to collaboratively engage with and transform colonial representations, records and ideas that continue to haunt, oppress and shape Indigenous lives. We use film, song, poetry, performance, and theory to create a safe space for our engagement with traumatic and horrific histories, stories, and experiences of our ancestors. This chapter describes our work.

Este ensayo analiza una serie de performance fotográficos de Emilio Rojas titulada Instrucciones para convertirse (2019). La serie de Rojas rinde homenaje a la artista Laura Aguilar y, pensando en el homenaje, este ensayo considera el gesto, así como al llamado y la respuesta, como técnicas de performance, mediante las cuales los cuerpos y las obras de arte saltan cuerpo a cuerpo, miembro a miembro. A través de otra obra de Rojas, Heridas Abiertas (A Gloria), el ensayo luego se mueve para discutir la obra Fringe, de la artista anishnaabe Rebecca Belmore, que se puede leer junto a la amalgama Rojas/Aguilar. La aparición de Belmore en el capítulo marca el comienzo de un trabajo que hace gestos hacia mundos ancestrales, en su caso indígenas, para presentar alternativas a la marcha miope de los registros del tiempo capital-colonial. Acto seguido, hago un contrapunto entre Viaje a Italia, de Roberto Rossellini, y lsa obras de Belmore, Aguilar y Rojas. La película de Rossellini, así como los performances de Rojas, Aguilar y Belmore, exploran el salto de la gestualidad entre materiales animados e inanimados, entre materiales humanos y no humanos, como son las estatuas de piedra y la carne humana o, en el caso de Rojas, las extremidades de los árboles y las extremidades humanas. El esfuerzo, en todo el ensayos, es producir una práctica de críticismo de performance decolonial.

When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.

This essay is a partial transcript of a public lecture by Rebecca Schneider, combined with a reflection on audition by a member of her audience, Paul Rae. Schneider's transcribed talk, ‘Extending a Hand,’ asks about the geologic time of climate change in relationship to the human time of racialization and other damaging by-products of the Capitalocene. If Schneider's talk performs a call, Rae's companion commentary performs a response that is, simultaneously, a reflection on the ways and means of academic labour on and as performance. In Schneider's talk, Paleolithic negative hand stencils are read beside contemporary protest acts and both are considered as ‘hails’, suggesting a reverberatory, ongoing, and even ‘live’ duration to gesture. Call and response is thus considered both in terms of geologic time and in terms of human time. ‘Extending a Hand’ was delivered as a keynote address to the 2016 Performance Studies international (PSi) conference in Melbourne, Australia, the theme of which was ‘climate c...