Related
annebournemusic
Musian : Composer : Teacher : Writer Through listening walks, I observe the coalescence of elemental difference — Light to water, water to land, the soil/ mycelium to trees, the minerals and species of the ocean floor in the dark, to the surface wave patterns of water, illuminated by subaqueous light. Through attunement to the currents and wave patterns water, I experience an expression of time, and a sonic ontology of water. I offer listening walks and deep listening sonic experiences, compose intermedia works, to draw experiential sensory awareness to the ocean this planet is. My practice is a reciprocal devotion to water. I am beginning new research in collaboration with filmmaker Philippe Léonard at the place in the Fleuve St Laurent where saline water transforms to fresh water, and beings live in both worlds.
Related
annebournemusic
Musian : Composer : Teacher : Writer Through listening walks, I observe the coalescence of elemental difference — Light to water, water to land, the soil/ mycelium to trees, the minerals and species of the ocean floor in the dark, to the surface wave patterns of water, illuminated by subaqueous light. Through attunement to the currents and wave patterns water, I experience an expression of time, and a sonic ontology of water. I offer listening walks and deep listening sonic experiences, compose intermedia works, to draw experiential sensory awareness to the ocean this planet is. My practice is a reciprocal devotion to water. I am beginning new research in collaboration with filmmaker Philippe Léonard at the place in the Fleuve St Laurent where saline water transforms to fresh water, and beings live in both worlds.
The artistic research project “(In)Audible Bodies” of Irini Kalogeropoulou that was presented in WAC 25 is a soundwalk that investigates the concept of silence through an embodied listening experience.
What can we hear if we listen beneath the silent skin of “in-between” spaces through our own and others‘ bodies? How does the auditory landscape shape our embodied experience, formatting and transforming public spaces?
Starting from text scores by Pauline Oliveros, La Monte Young, David Helbich, and the artist herself, participants reflect on the political and poetic dimensions of sound while walking along a pre-designed route. They share listening experiences and explore how walking blurs the boundaries between self and environment. By engaging in deep listening and sonic awareness practices, “(In)Audible Bodies” invites participants to reconsider their presence within the landscape, challenging habitual ways of perceiving voices and stories—especially those of the non-human—that have been suppressed or forgotten. It also attends to the unspoken mourning that emerges in silent spaces.
The soundwalk questions how silence is not merely the absence of sound but a dynamic field shaped by cultural, social, and ecological forces. Acting as rhythmanalysts, participants listen to how the music of the environment is composed—who plays it, for whom, and how power structures dictate what is heard and what remains unheard.
Drawing from Hannah Arendt‘s phenomenology of the body and Tim Ingold‘s concept of the “ear-body,” the soundwalk explores a way of walking that transforms the human body into a vessel for sound. In this state of attunement, the body merges with the landscape‘s collective body, reminding us that we are not owners of the world in which we exist and move, but rather, we are shaped and inhabited by it.
(In)Audible Bodies proposes embodied and relational listening as a means of entering a shared, collective grief—one that transcends the visible, where public and private crisscross and intersect, creating space for healing and imagining a shared acoustic cosmos.
You must be logged in to post a comment.