//Unheard_Landscapes - listening | resonating | inhabiting 10th FKL/ENP/AAU_CRESSON International Symposium on Soundscape BLOIS | October 27 -30

Unheard landscapes: this metaphor leaves space to imagination, to the un-thought, to the un-known, to past and future, as well as unexplored sound scenarios. It also reaches the field of auditory perception, the acoustic domain. Sound, through auditive qualities, acoustic phenomena, design practices, artistic creations, and listening experiences, offers an inspiring transversal entry onto landscapes and ambiances. Beyond the discussions on “soundscape”, approaching ordinary environments through sounds increases the awareness of our own capacities to feel, while we inhabit and move across different worlds. From an ecological perspective, resonance appears a key word, too. It puts sound and space together. It implies the idea of a plurality of bodies, things and living beings vibrating all together, sharing common contexts of time and space. The act of listening bypasses the passive meaning it usually receives. It contains in itself a completely unexpressed potential, connoted with «project», «pro-action» and «active decision» by individuals. What will be the sounds of the future and the soundscapes in which we will live, or would like to? How can listening practices evolve, how will we listen or how differently could we listen to the world around us, tomorrow? Inhabiting the world brings to us questions about how we want to manage our being in it. How do we want to inhabit the world sonically? How sound and listening do actually affect our way to inhabit it? Have we lost some of our abilities to resonate with the world? What remains to be heard? Where could the practices of listening and attuning take us to?

Sherry OSTAPOVITCH | CA |

Installation

In a Queer Time and Space

In a Queer Time and Space is a collection of sound works-in-progress that assembles voices, places, memories, and acoustic abstractions while grappling with the impermanence and fluidity of queer geographies. It engages with space through and beyond the resonances and reverberations of architectures, foregrounding the stories, sounds, and relations that forge queer-feminist social and political space. Conversations with members of London’s queer community were played and re-recorded into the cavernous buildings of an operational cement factory-cum-art center in East Germany, taking on the resonant and reverberant layers of the industrial architecture. This occurred during a sound arts residency for women and LGBTQI people during which, these and many other recordings were made using surround and extended techniques, recording the walls and surfaces of the cement factory, art centre, as well as the queer collective living and creative activities being produced. The listener experiences articulations of queer space and time through the work’s playback in a 360 degree 3D diffusion using ambisonic technology.

Sherry Ostapovitch is a sound artist, sound engineer and educator based in Tkaronto, Canada whose work incorporates field recordings and multi-channel sound installations. Previous work includes They’d Pass Through London Fields, a site-specific work composed for Kaffe Matthews’ sonic bicycles examining gentrification, community and loss in Hackney. Sherry received a master’s degree in music from Goldsmiths, University of London and is currently undertaking a PhD in Social Justice Education at the University of Toronto. Research commitments include: listening, sonic pedagogy, sonic geographies, popular education, and practices of decolonization. sherryostapovitch.wordpress.com.

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