Hearing on the verge

Cuing and aligning with the movement of the audible

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Abstract

In 'Hearing on the verge: cuing and aligning with the movement of the audible', we engage the sonic landscape by recording and listening in movement. This is a cueing and aligning with the audible in our respective urban ecologies, in a counterpoint of moving and listening. We relay and exchange these recorded sounds, write and compose with them while expanding modes of listening across space-time and across situated milieu of hearing. As hearing in movement intensifies the verge of the audible, it multiplies, stretches and concentrates the otherwise indistinct noise of urban ecologies into new intensities, contours and articulations. In the process of moving with hearing, listening becomes a technique of gathering audible rhythms, refrains and qualities within and with an inhabited body. What's more, the pathways of roads and corridors that habitually map and prescribe trajectories through space lose their force of extensive continuity, or the authority with which they delineate space and script, direction or position, within it — places become viscous in the attunement with their sonic consistency, in the dynamics with which it is stirred, swallowed and waded through.



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Bibliography

Begson, H. (1910) Time and Free Will: An Essay on the Immediate Data of Consciousness. POGSON . F.L. (trans.). London: Sonnenschein & co.

Deleuze, G. (1968) Différence et Répétition. Paris: Presses Universitaires de France (author's translation).

Ellison, D. (2012) Automata for the People: Machine Noise and attention. Cultural Studies Review 18 (3). 136–77. Available from http://epress.lib.uts.edu.au/journals/index.php/csrj/article/view/2863.

James, W. (1904) A World of Pure Experience, Classics in the History of Psychology. Available from: http://psychclassics.yorku.ca/James/experience.htm.

Manning, E. (2013) Always more than One: Individuation's Dance. Durham and London: Duke University Press.

Manning, E. (2009) Relationscapes: Art, Movement, Philosophy. Cambridge: MIT Press.

Keywords

Audio PaperlisteninghabitecologyChoreographyaffect

About the author(s)

Nicole De Brabandere is a PhD candidate in artistic research at Zurich University of the Arts (ZHdK) under the supervision of Giaco Schiesser and Erin Manning. De Brabandere develops techniques to generate affective attunements across media and material milieu, including clay modelling, drawing, video, audio, choreography and discursive practice.

Graham Flett is presently a PhD candidate in Music Composition at Brunel University (U.K), under direction of Christopher Fox and Michael Finnissy, Flett’s artistic research aims at articulating how composed music and organized sound as an act of culturally mimetic behavior, can reveal new ways of creative expression.

Seismograf Peer Review

Seismograf/peer is a peer-reviewed online platform devoted to practical and theoretical issues in relation to contemporary music and sound art.

Seismograf/peer covers a broad range of topics including sonic materialities, modes of listening, philosophy of sound and music, aesthetics, technology and audio visuality as well as performative, curatorial and archival matters related to the sonic arts.

Seismograf/peer encourages a wide spread of methodologies and theoretical discourses, ranging from more established academic approaches such as sound studies, musicology, cultural studies and performance studies to artistic research, practice-based research, artist writing and media archaeology.

Format

Seismograf/peer is hosted by Seismograf, the oldest and most modern Nordic music journal. Seismograf has a long and strong tradition of publishing essays, interviews and reviews by music journalists and critics as well as academics and composers, acting as an inspiring and important platform within the field. Seismograf/peer is a natural development of this tradition, acknowledging the demands of publication within universities, music academies and art schools.

Seismograf is supported by the Danish Arts Council, the Danish Composers’ Society and Independent Research Fund Denmark.