From Gaze to Gnosis: A Critical Framework for Embodied Audio Production

Ambrose K. From Gaze to Gnosis: A Critical Framework for Embodied Audio Production. In: Express Paper. Audio Engineering Society; 2026.pp. 459:1-. Available from: https://aes.org/publications/elibrary-page/?id=23173

@inproceedings{Ambrose2026_23173,
  author = {Ambrose, Katie},
  title = {{From Gaze to Gnosis: A Critical Framework for Embodied Audio Production}},
  pages = {459:1-},
  year = {2026},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=23173}
}

TY  - CPAPER
TI  - From Gaze to Gnosis: A Critical Framework for Embodied Audio Production
AU  - Ambrose, Katie
SP  - 1
M1  - Paper 459
PY  - 2026
DA  - 2026/05/28
UR  - https://aes.org/publications/elibrary-page/?id=23173
PB  - Audio Engineering Society
LA  - en
AB  - Audio engineering standards often present as objective, yet they frequently rely on a systemic data bias which Perez characterizes as the default male bias [1]. This paper examines the hegemony of the male ear, a system of norms that privileges masculine modes of hearing by prioritizing technical structure and text over affective experience and timbre [2]. By transitioning from a visual centric auditory gaze toward an embodied sonic gnosis, researchers can recover haptic and physiological ways of knowing sound. Drawing on the feminist listening praxis of the Female Ear [3], this work explores the recording studio as an analytical space where sonic microaggressions [4] enforce rigid technical standards. The author argues for a new audio praxis that centers ear pleasures [5], validating subjective and affective sensory data as legitimate engineering input. This approach seeks to dismantle the regulatory fiction [6] of a universal hearing standard, promoting a pluralistic understanding of musicking [7] that is inclusive of non-normative perspectives.
ER  -