New Story Angle: Vocal Fries for the Meek
Throughout this seminar we have heard from a number of professional individuals. While they are up there sharing their valuable jewels of experience, I notice how often people add “sort of” or “kind of” to their sentences, or the words “actually” and“definitely.” It is funny to think of how these words and phrases can kind of be added to pretty much anywhere in a sentence and not actually change or take away meaning. As a response, “Definitely,” will open up a sentence, as a way of saying, “I am going to answer your question now.” Also popular is “Right?” when explaining…anything. The speaker is in need of confirmation, but at the same time they are asserting what they know to be conventional wisdom. Just a few things I have noticed. And then there is vocal fry.
Someone said vocal fry is much more common among females. The person who said this wanted to use it as a tool from the modern feminist perspective, the implication being that no one would ever judge a man for his glottal or his pulse register. That the phonation of women can be scrutinized ever so closely, and that the man’s does not exist, well this is actually, definitely, kind of harsh and sort of unfair. But the truth of my experience is that when I listen to the creaky slack of vocal chords, it tends to make the speaker inaudible. They seem nervous, and plumb out of oxygen. It seems to happen when the speaker is not quite sure of the script. Without fail, those whose voices croak and creak have only two ways of making their points: the end of their sentences either go low and into an airy rattle of words, lost in their vibrational habit, or, alternatively, they go up? And into a much higher pitch? That sounds like a question?
Similar to “sort of,” vocal croaking is the new “like.” Throw it in anywhere, and make yourself less heard. Go for it!
So like, actually, today was about snow. I mean climate change. I mean weather? A different format from all the other seminar days that ended up being really perfect for the topic.
While connecting people to deep time and deep science, the Climate Museum will break through barriers and do things differently by working with artists and including artworks in their collections. They are hopeful that this on top of virtual or interactive lessons via science and design will provide a platform for activism. Olafur Eliasson already follows them, and his Sun Project, too. I was moved by the board-approved gift policy. While they take their time to become a powerful instrument for the highest belief in climate change, the value placed on artists here is what most strikes the tides of my fancy.
I do wish to point out the confidence I hold in Storm King; about them we worry not. And I find myself already contacting the Alliance for Response to see how I can help at the Cultural Recovery Center. Mon chapeau, I give to thee.
References:
Screenshots from Peggy Weil’s film 88 Cores. Retrieved 3/21/18 from: https://vimeo.com/254608225
