During their everyday navigation, errant and itinerant listeners may interact with various sites considering and/or perceiving them as spatio-temporally evolving but gradually disorienting auditory situations following sonic memory, imagination, and previous experience of other sites. The listener may relate to these situations by thought processes generated by means of cognitive associations in the context of an inter-subjective interaction with the situated sonic phenomena. Essentially subject-oriented and contemplative, the itinerant sonic interaction between listeners and these constantly emerging situations as cognitive processes of hyper-listening may arguably transcend the ontological and epistemological constrains of sound toward including the contemplative states and mindfulness of the listener. ‘Hyper-listening: praxis’ is a series of workshops that employs such concepts and methodologies of listening where the seemingly mundane auditory situations are explored and studied by means of their spatio-temporal, quasi-musical and/or narrative development, and (con)textualized by chronicling the myriad of thoughts triggered within the psychogeographic evocation of sites in the listening experience. This series of workshops is manifested as a set of exercises and collaborative experiments involving the methodology of ‘hyper-listening’ – a notion inspiring a series of sound-based texts developed towards an upcoming artists’ book project that intends to explore the mindful aspect of listening as loosely explained in the very coinage of ‘hyper-listening’.
AIL, University of Applied Arts Vienna, 22 September 2016
Q-02, Brussels, 16 April 2016.
Overgaden, Institute of Contemporary Art, Copenhagen, Denmark. 13 February 2014.
‘Auditory (Con)texts: Writing on Sound‘, Ear │ Wave │ Event, issue 2. May 2015.
‘Auditory Situations: Notes from Nowhere‘. Journal of Sonic Studies. Vol. 4. Issue 1. 2013. Special Issue: Sonic Epistemologies.