Auraldiversities: Future Listening (Session 5)

CHASE

A year-long programme of training sessions and workshops addressing the ‘auraldiverse turn’ in the Arts and Humanities.

AuraldiversitiesA year-long programme addressing the ‘auraldiverse turn’ in Arts and Humanities research and theory, questioning how and what we hear, what we listen to and why, as situated within our contemporary milieu: that of ecological, existential, social, economic and epidemiological crises.Entwined with sonically sensile organisms, sessions extend well beyond human worlds into speculative acoustic realms of future listening.Sessions are virtual with some materials sent in advance. SIGN UP to be sent a session link and password.///Future ListeningWhat is to become of vibration? What is its future receptacle? These two sessions extend tentacles into possible aural futures, via specially designed convivial, collaborative and multisensory activities. How might the world sound if biology and technology meld? What does the weather and politics have to do with how we listen? What is the cityscape saying to us and how is its language encoded in material? What novel possibilities (will) allow us to be heard, to better communicate with (more than human) others? These sessions will offer a speculative exploration of the future(s) of listening: entwined, networked and multimodal. ///SESSION FIVEElena Biserna | SoundBorderscapesToday, borders are less and less linear and rather become pervasive and mobile, while acquiring an unprecedented significance in every field of our life. On a global scale, some of the most important cultural, social, economical and political issues rise exactly from the dynamics between border reinforcement and border struggles. In order to account for these transformations, border studies are elaborating new notions and theoretical frameworks introducing more complex, multiple and process-based understandings of borders. Borders are now thought as fluid spaces, continuously constructed, redefined, reinforced or transgressed by a multiplicity of discourses, practices and bodies and manifesting themselves in multiple forms and places, as apparatuses of selection, control and surveillance. The sanitary crisis has dramatically reinforced these processes, introducing new kinds of borders and reinforcing existing ones.Combining a theoretical introduction, examples of explorations of borders in the sound arts, readings and listening exercises and dérives, this session proposes listening as a situated and relational methodology to problematize the linear, fixed image of borders conveyed by maps, to explore their temporal, dynamic and performative character as well as the (new) ways they manifest themselves in our everyday spaces and practices. Elena Biserna is a scholar and independent curator based in Marseille. She is an associate researcher at PRISM (AMU /CNRS) and TEAMeD (Université Paris 8). Her interests are focused on listening, and contextual, time-based art practices in relationship with urban dynamics, socio-cultural processes, the public and political sphere. She has taught at ESAAix-École Supérieure d'Art d'Aix-en-Provence, Aix-Marseille University and the Academy of fine art of Bologna and has given talks at different conferences, festivals and events. Her articles and interviews have appeared in journals and several international publications (Les Presses du Réel, Mimesis, Le Mot et le Reste, Errant Bodies, Amsterdam University Press, Cambridge Scholar, Castelvecchi, etc.). Elena co-curates the series <a href="https://cargocollective.com/lamembrane" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">La Membrane</a>, the seminar <a href="http://locusonus.org/wiki/index.php?page=Pratiques+de+l%E2%80%99%C3%A9coute%2C+%C3%A9coute+des+pratiques+2018-2019.fr" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Pratiques de l’écoute, écoute de pratiques</a> at IMéRA Marseille and co-edits the column wi watt'heure of Revue &amp; Corrigée with Carole Rieussec. As a curator, she worked with several organizations such as Locus Sonus (Aix-en-Provence), soundpocket (Hong Kong), Sant'Andrea degli Amplificatori (Bologna), Cona Zavod (Ljubljana), Xing (Bologna), Saout Radio, Sound Threshold (London). / / /Alex De Little with guest collaborators | Listening in the Chthulucene: Sound Practices for SurvivalListening in the Chthulucene is a sound practitioner collective dedicated to exploring and forming sonic ways of becoming-with and alongside nonhuman others. It was formed on the basis that in order to survive the present and evolving climate and ecological crises, we need to develop new strategies for existence that celebrate human entanglement with more-than-human others rather than perpetuate those which separate us from them.We must – to use the language of Bruno Latour – depart from the realm of ideas, return to earth and become ‘Terrestrial’; this an act that requires ‘attaching oneself to the soil on the one hand, [and] becoming attached to the world on the other’.We ask: what potentialities might sound and listening offer to return from the realm of these ideas and form vibrant practices that might offer strategies for survival in the think present of the Chthulucene? How might practices of sounding and listening offer practical possibilities for making kin and celebrating human-nonhuman entanglement? Sound propagates and entangles; listening requires presence and empathy. Surely these are qualities that lend themselves well to making kin with nonhuman others?In the group – through the framework of a Deep Listening Study Circle – we develop ‘sound strategies for survival’. These strategies are not ends in themselves, but openings: tactics that seize on the affordances of the vibratory domain to enact and pursue imperatives of decentering. They engage with what sound and listening make possible: what is heard, unheard, and imagined through diverse ecologies and assemblages; and the possibilities for sounding that lie within and across these. Strategies are not necessarily art ‘objects’; they are processes, techniques or approaches that can be used and engaged with by humans and nonhumans (across one or multiple/different sites or assemblages).In this workshop, the collective will introduce their practice and lead you in a series of engagements with emerging strategies for aural entanglement with more-than-human others.Cláudia Martinho is a sound artist, architect and researcher, based in Geres, Portugal. She has been experimenting with environmental sound and spatial acoustics, to regenerate relationships between humans and their surrounding ecosystems. Her practice is site-relational and involves location recording, composition, installation, performance or workshops. She is currently a researcher with the project “Audire: saving sonic-based memories”, at the University of Minho, Portugal.Nik Forrest is a trans-disciplinary artist based in Tio’tia:ke/Montreal. Currently a PhD student and SSHRC fellow in the Interdisciplinary Humanities program at Concordia, their research combines sound studies, gender studies and creative practice in sound performance and installation. Martyna Poznańska is an interdisciplinary artist who works with different media across disciplines, building connections between the intangible medium of sound and solid matter. This includes the practice of active listening and field recording in tangent to working with various visual tools such as video, installation, her own body, and drawing, as well as listening workshops and soundwalks. Responding to the climate crises related issues, she has been exploring the symbiotic relations between human and non-human beings, and their endless entanglements.Jacob Eriksen (1985, Denmark) is a sound artist, researcher and lecturer living in Berlin. His work oscillates between artistic experimental practice and theoretical conceptualisation, which in combination constitute a breeding ground for knowledge production and creativity. His sound art, conceptual art and musical experiments addresses the crossovers between order and chaos, synthesis and organism, repetition and difference, the human and non-human. He is currently undertaking his doctoral candidature in sound studies and sonic arts at Berlin University of the Arts.Walker Tuft's work explores our relationship to others (human and non-human) and the commons through games, kitchen renovations, exhibitions, dinner parties, and performances. He sees play as a form of research equal to academic enquiry and a way to examine and dismantle the problematic assumptions often baked into Western scientific thinking.Yifeat Ziv is a vocalist, a composer, a free improviser and a sound artist. She combines voice, electronics, field recordings and text to create interdisciplinary sound works that derive from her research of the human voice, technology, acoustic ecology and listening practices. In her performances and installations, she aspires to create situations where an active listening experience can emerge; an invitation to critically engage with sound.Alex De Little is a sonic artist and researcher with bases in Leeds and London, UK. His practice encompasses installation, composition, performance and workshops; it is concerned with the interrogation of listening as a way to understand environment, self, and social relations. He currently holds postdoctoral research fellowships at the Universities of Leeds and Nottingham; and is an honorary research fellow at Goldsmiths Centre for Sound Practice Research./ / /Milena Droumeva | The future sound of cities: sound is not a waste productEmerging alongside the amplification of civic inequities and the corporate cannibalization of cities, livability has suffered from lack of engagement with the sensory aspects of urban life. Although much has been written about the negative effects of declining air quality, light pollution, as well as noise on the health and well-being of people in cities, little attention has been invested in the way of conscious urban soundscape design at infrastructural levels. Whether intentional or unintentional, urban soundscapes are byproducts of both active design strategies and discourses of livability in the city. They are microcosms of social relations and reflect shifting negotiations of public/private space (Arkette, 2004; Barns, 2013). With the concept of livability shifting from general notions of “quality of life” to objective measures towards urban utopia (Kaal, 2011), urban soundscapes are both symptoms of economic and political balance (Schafer, 1977), and sites for potential intervention to redefine livability in more humanistic terms. Listening to the city can be an intervention into both the narratives of livability and the processes by which community is formed in terms of sensory design. In this session, Milena will present some key concepts from the history of sound design for cities, and three case studies that will be discussed in groups, where sonic interventions can both increase the acoustic ecology and sonic character of place.Milena Droumeva is an Assistant Professor of Communication and Glenfraser Professor of Sound Studies at Simon Fraser University specializing in mobile technologies, sound studies and multimodal ethnography. They have a background in acoustic ecology and work across the fields of urban soundscape research, sonification for public engagement, as well as gender and sound in video games. Milena’s current research combines livability with urban soundscapes research, including sonification of socially significant data.https://www.sfu.ca/communication/team/faculty/milena-droumeva.html/ / /<a href="https://www.eventbrite.co.uk/e/auraldiversities-listening-in-the-present-tense-session-1-tickets-122543389577">Auraldiversities Session 1</a><a href="https://www.eventbrite.co.uk/e/122962122017">Auraldiversities Session 2</a><a href="https://www.eventbrite.co.uk/e/auraldiversities-expanded-listening-session-3-tickets-124980077777">Auraldiversities Session 3</a><a href="https://www.eventbrite.co.uk/e/auraldiversities-expanded-listening-session-4-tickets-124991526019">Auraldiversities Session 4</a>/ / /Session Contact/Queries:Helen Frosi | <a href="https://www.soundfjord.org/contact" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">SoundFjord</a>/ / /With thanks to:Those facilitating, leading, and chairing sessions.<a href="https://www.gold.ac.uk/music/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Department of Music</a>, Goldsmiths, University of London.<a href="https://www.sussex.ac.uk/research/centres/sussex-humanities-lab/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Sussex Humanities Lab</a>, University of Sussex.Curated by: John Drever, Alice Eldridge, and Helen Frosi.Cover image: Gerd Altmann | PixabayAll activities are supported with <a href="https://www.chase.ac.uk/development" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">CHASE cohort development</a> funding.

CHASE Terms and ConditionsBy registering below you are requesting a place on this training programme or selected sessions that form part of the programme. A member of the CHASE team or the workshop leader will contact you in due course to confirm that a place has been allocated to you. If you are allocated a place but can no longer attend, please cancel your Eventbrite registration or email training@chase.ac.uk so that your place can be reallocated. CHASE training is free to attend and events are often oversubscribed with a waiting list. Failure to notify us of non-attendance in good time means your place cannot be reallocated and repeated failure may mean that your access to future training is limited.Online training sessions are open to all. The following have access to early booking:•	CHASE funded and associate students,•	Arts and Humanities PhD students at CHASE member institutions,•	and students and members of staff at CHASE partner institutions,•	Arts and Hum PhD students (via the AHRC mailing list).

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Auraldiversities: Future Listening (Session 5)

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