alper maral on pauline oliveros and deep listening

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WALKING, LISTENING, AND MAPPING THE SILENCE

NOISE & SILENCE

BY KATERINA TALIANNI.

Katerina Talianni explores the methodology behind her soundwalk and soundmap collaborative project, the Impossible Inaudible Soundwalk

Our listening practices are shaped by today’s technological developments. Sound and media art works such as installations, soundwalks, and soundmaps that use geolocative media have influenced and utilized new modes of listening. Creative sound artworks are seeking to engage listeners, who are navigating space, to participate in the aesthetic completion of a piece.

Mobile listeners are at the same time immersed in their privatised ‘auditory bubble’ described in Michael Bull’s account of iPod culture, and also experiencing the relationship between the aural and urban space, detailed in Brandon LaBelle’s essay Acoustic Territories on how sound circulates through the built environment. These two main ideas: on the one hand, the privatized and intimate listening experience; and on the other, the traces of a communal auditory life, have influenced the work of…

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Invisible Places 2017 – Hildegard Westerkamp – The Practice of Listening in Unsettled Times

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The difference between hearing and listening | Pauline Oliveros

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prison songs

prison-songs-image-for-websitehttp://citiesandmemory.com/projects/prisonsongs/

here is my piece for the project:

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cfp: Sonologia: Out of Phase

CFP_Sonologia2016

The Sonologia 2016 – Out of Phase international sound studies conference welcomes submissions from researchers
across different fields of study that can refer to, but are not limited to, the following topics:
• postcolonial historiographies that counter euro-american narratives and describe the importance of other geographically
situated musical/sonic practices, not only in the development of a regional experimental/contemporary music scene, but
also in the wider history of such practices;
• practice-based artistic research and/or musicological reports of music, sound art (improvisation, composition,
performance, installation, radio, field recording, performance, site-specific endeavours) or other post-medium/hybrid
artwork;
• case studies that describe and reflect on the processes involved in the transfer of knowledge, technology and creative
practices between different geographical realities (relating to music/sound);
• critical insights into the politics of sound: demarcation and regulation of territories and communities, online and public
activism, noise abatement, sonic warfare and torture;
• research projects or case studies that promote the accessibility of music technology software/hardware, through
repurposing old/novel technologies or using open-source platforms;
• discussions related to technical, social and poetic aspects regarding the role of technology in music and sound art
production;
• inter or trans-disciplinary methodological papers that describe the study of sound/music and its pertinence to other
fields;
• ethnographic inquiries that describe the national and institutional frameworks that support contemporary/experimental
music and sound art making;
• expanded epistemic and multimodal accounts of knowing the world through feminist, queer, trans, race or(and) other
non-normative/binary listening perspective(s);
• inquiries that problematise discursive and practical tropes in contemporary sonic artworks that deal with place, nature
and human/non-human entities;
• discussion(s) regarding the mediation of composers’/artists’ presence (authorial and physical) in making/presenting music
or art

http://www.eca.usp.br/sonologia

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music in the historical ankara castle

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