ENHEAR

Carolina Jinde

ENHEAR a way of being a state of mind a field of enquiry exploring the creative and collaborative potentials of sound centric strategies in film and media-based contexts The term enhear invites an approach to research, art practice, sound studio and world that is comprehensively aural. It proposes listening as both act and role; listening as a present tense, continual and continuous co-creation of the inter-relational spaces we all share. Drawing on the specific expertise and orientation of the sound engineer in film and media-based production, the research unfolds as a series of interrelated experiments and reflections, exploring enhear via a diverse range of artistic approaches, collaborative methods and pedagogical practices. Each sub-project brings particular attention to the auditory perspective, a radically underutilised element within the visually dominated context of film and media. This project contends that consciously incorporating attentive and inclusive listening practices into the lifecycle of creative processes will make considerable artistic, ethical and practical contributions to film and media-based productions; further utilising the expertise, raising the profile and expanding the practices of the sound engineer.

Acknowledgements

I am forever indebted to many people for the time, knowledge, energy and engagement they have shown me and my work in various ways, the time we’ve spent thinking and working and listening together has been the most fulfilling part of this entire process.

Thank you to my main supervisor Rebecca Hilton for her considerate and nuanced reading of my thinking and for her generous and genuine support creatively, emotionally and professionally. Thank you to my family who have stood by my side through it all.Thank you to my closest collaborators, Ester Martin Bergsmark, Tove Edfeldt, Alexander Furunes, Boris Laible, Tuomas Laitinen, Jessica Liedberg, Sasha Rozario and Nina Westman for inspiring and playful conversations and cooperations. Thank you to my supervisors Cathy Lane, Klas Dykhoff and Rolf Hughes for their guidance throughout this process.

Thank you to the staff of SKH, particularly at the Film and Media Department and at the Research Centre. And thank you (in alphabetical order) to:

Mamdooh Afdile, Emilie Agardh, Ulrika Akander, Johan Anderson, Jenni-My Andersson, Tinna Andersson, Annette Arlander, Malin Axelsson, Costanza Julia Bani, Eleanor Bauer, Sissel Behring, Lin-Christin Berentzen, Gila Bergqvist Ulfung, Aron Birtalan, Reino Björk, Bengt Bok, Per Bolkert, Anders Boman, Savas Boyraz Thomas Brennan, Eli Bø, Nils Claesson, Camilla Damkjaer, Tove Dahlberg, Mareike Dobewall, Max Edqvist, Sten Elfström, Mia Engberg, Frida Englund, Stefan Engman, Roland Engström, Lotta Eriksson, Helena Falck, Andreas Franck, Erik Gandini, Iris Garelfs, Johanna Garpe, Aila Gengelbach, Pernilla Glaser, Kersti Grunditz Brennan, Mirko Guido, Ylva Gustavsson, Sanna Hagström, Kristina Hagström Ståhl, Olof Halldin, Vanja Hamidi Isacson, Lena Hammargren, Maria Hedman-Hvitfeldt, Torulf Holmström, Hanna Husberg, My Häggbom, Fanny Högberg, Ruth Jarl, Tinna Jone, Mark Jonson, Jonas Jonsson, Lina Jonsson, Anne Jurén, Sara Kaaman, Meliz Karlge, Aleksander Karshikoff, Lena Kempe,Ann Kroon, Anneli Kustfält, Lena Lagerlöf, Bodil Lagerås, Gustav Landbecker, Andra Lasmanis, Mirko Lempert, Marcus Lindeen, Christoffer Limér, Mats Lindberg, Trond Lossius, Louise Löwenberg, Helena Magnusson, Beata Mannheimer, Juliette Mapp, Emilia Martin, Caterina Mora, Marcia Nemer, Lena Nettelbladt, Bo Nordenfelt, Simon Northon, Labbe (Lars-Göran) Nygren, Halla Ólafsdóttir, Kent Olofsson, Lotta Olsson, Margareta Olsson, Heidi Paatere Möller, Chrysa Parkinson, Lisa Partby, Daniel Peltz, Kerstin Perski, Lina Persson, Anna Pettersson, Anneli Ragvals, Marie-Andree Robitaille, Cecilia Roos, Magnus Roosman, Dagmar Roth, Edvin Roth, Vigo Roth, Josephine Rydberg, Ellen Røed, Stacey Sacks, Karl Sandzén, Fredrik Setterberg, Martin Sonderkamp, Fina Sundqvist, Jenny Sunesson, Jimmy Svenssnon, David Silverin, Anna-Carin Stymne, Maria Stålhammar, Jenny Tyllström Joan Wandin, Rubén Widén, Annika Wik, Yoko Yamano, John-Paul Zaccarini, Helle Zimmerman.

I also want to thank all the students and youths I have had the privilege to meet and work with throughout this project, their contributions have profoundly shaped and oriented my research.

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