Performing Listening (2012)
This workshop has been presented in these locations.
Through a series of exercises based on spatial listening, psychoacoustics, and sound-guided movements, the workshop encourages an active role for the listener — their ability to perceive, respond to, and physically engage with sound. Grounded in the idea of listening as intervention, it invites participants to explore their capacity to touch, modulate, and interfere with the production and propagation of sound.
A short list of possible activities includes: listening to the sound of one’s own footsteps; walking toward a wall with eyes closed; touching other participants with a microphone; listening from inside a cardboard box; playing the ‘analog filter’ with one’s body; listening through a wall; producing sound by blowing air on a sheet of paper; moving through space while avoiding sudden feedback between microphone and loudspeaker; finding the point where two different sounds are perceived at the same loudness; walking as far as possible from a sound source without it disappearing; and using other participants’ bodies to absorb sound.
Credits
Work by Davide Tidoni
Photo: Laura Arlotti
Performing Listening (2012)
This workshop has been presented in these locations.
Through a series of exercises based on spatial listening, psychoacoustics, and sound-guided movements, the workshop encourages an active role for the listener — their ability to perceive, respond to, and physically engage with sound. Grounded in the idea of listening as intervention, it invites participants to explore their capacity to touch, modulate, and interfere with the production and propagation of sound.
A short list of possible activities includes: listening to the sound of one’s own footsteps; walking toward a wall with eyes closed; touching other participants with a microphone; listening from inside a cardboard box; playing the ‘analog filter’ with one’s body; listening through a wall; producing sound by blowing air on a sheet of paper; moving through space while avoiding sudden feedback between microphone and loudspeaker; finding the point where two different sounds are perceived at the same loudness; walking as far as possible from a sound source without it disappearing; and using other participants’ bodies to absorb sound.
Credits
Work by Davide Tidoni
Photo: Laura Arlotti
