YT Because we are here playing (0:00) Hi Chiara, thank you for the second question. (0:04) I think it’s an interesting question that perhaps some sound artists have engaged with. (0:12) And maybe it’s not just a matter of like what happens to listening when it is mediated by technology, (0:17) but also what happens to sound. (0:21) Immediately I think of the work of Alvin Lucier (0:24) with a piece that is called I’m Sitting in a Room. (0:31) I don’t know if you know this work, (0:33) but I think you might have some really interesting reflections (0:39) on his approach to sound and technology, recording technology. (0:48) But to keep things short, (0:50) I think for me what’s most interesting about this technological mediation (0:55) is that it just plays even more so with time and space. (1:02) So if something was recorded, (1:05) I think of the whale recordings from 1970, for example, (1:10) by bioacoustician Roger Payne. (1:12) And today we’re still listening to those first recordings of whales (1:17) and how that recording specifically aided Greenpeace on saving the whales. (1:26) I mean, I’m giving a really short answer here, (1:29) because not only did the recording help the whales from extinction, (1:35) most people would say, (1:37) they also increased the number of seaquariums, (1:41) which plays on the role of capitalism on wanting to consume sounds. (1:47) And I think recordings help humans consume sounds (1:53) that otherwise would be left only by those who would experience nature (2:00) through an excursion or to being there, being present. (2:07) Not that listening to recordings doesn’t mean we cannot be present, (2:12) but I think that’s another question and another conversation. (2:17) Something that I would also invite you to think about is artificial intelligence (2:21) and how it has been listening to some marine animals, for example, (2:29) and trying to translate the sounds (2:34) they make underwater. (2:36) So there’s a whole other modality of recording these days (2:41) that is even more so mediated by artificial intelligence, (2:46) which could be something interesting to look at for your research. (2:55) Also, if you remind me by email, I can send you some references, some essays, (3:00) because it also makes me think of the history of fruit recording, (3:03) which started off as a military technology meant to listen to enemies, (3:11) which then eventually started capturing the ecosystems, the wind, birds, insects, (3:19) which then helped or allowed science and art to use sound, (3:26) perhaps in a less intrusive way (3:31) than some science and art may have practised. (3:37) Anyways, as you can tell, there’s a lot to say about this. (3:40) If any of this resonated with you, let me know, (3:42) and I can send you some references, okay, or via email or on your whatsapp account? (3:47) Thank you again for this question.

CR What kind of trace does a sound leave, in your view? Is it visual, mnemonic, or material?

YT (0:00) Hi Chiara, good morning. (0:05) Well, I think yes, all of the above. I think sound leaves a lot of different kinds of traces, (0:14) including the ones you mentioned. I think we also, as human beings, perhaps don’t even have the (0:22) capability of really sensing the infinite of traces the sound leaves behind. (0:28) So I think it’s also a question from which perspective are you asking that question from? (0:35) But since I’m a human, I will reply as the human individual, human that I am. (0:44) I think for me, what’s interesting and powerful of sound, and it’s something that Paulino Oliveros, (0:53) I guess, speaks a lot about in the Tiplissian practise, is how sound (1:03) is very much intertwined between the exterior sound and the internal sound. (1:07) And the internal sound meaning our emotions and memories and dreams. (1:14) And I think that’s the most important trace the sound leaves behind as far (1:19) as my interest goes right now at this moment, how emotional (1:25) traces of sound get imprinted within us. So even thinking about sounds of our childhood, (1:36) of places where we are from, of territory, of birds, songs, music, how that activates (1:47) emotional response within us. And not just the emotional trace, but I think for me what’s been (1:55) really inspiring to keep researching on is the spirituality of sound. And I know that’s a big (2:04) word that can be interpreted in many, many ways. But I think there is a cosmological sort of (2:15) spiritual connection with sound that also is very impactful and leaves a trace in the way we (2:23) relate to the world around us, to the knowledge of other ways of seeing cosmologies or evolution or (2:35) creation, et cetera, et cetera. So yeah, that is what I would reply right now. (2:42) Thank you for the question.

CR Have you ever thought of listening as a form of writing? And if so, what kind of writing would it be?

YT (0:00) Hi Chiara, very interesting question. I can’t say I’ve thought of listening as a form of writing per se, even though it is very intriguing to me where you’re coming from with that. But I do think there’s definitely some sort of like methodological approach to (0:31) listening that can be done through writing. So for example, like preparing for a workshop, a listening workshop, there’s actually some instructions that I write in order to prepare, even perhaps like some sort of partituras, like musical sheets, I guess, that can help (0:53) guide the workshop. And also listening as fiction, perhaps, has been a way I’ve engaged (01:06) with listening in writing, perhaps not as writing. But well, there was this performance I did with a colleague, Fabiana Vinagre, where we sat blindfolded and wrote down things that we were listening to in various different spaces in the city. So maybe that’s a way to write (01:37) and listen at the same time. But yeah, very interesting question. If you’d like to share a little bit about listening as writing, if you have any references or how you’re thinking about it, (01:52) that would be lovely. Thank you.

CR How does the body, of the listener, the performer, or the device, shape the perception of sound?

YT (0:00) Hi Chiara, I just want to start by saying that your project sounds super interesting, (0:08) and yes, I would really love to get a copy and learn more about your research. (0:15) And to answer your last question, as the other ones, it’s a deep question with many ramifications, (0:26) so I’ll answer it today with what I am feeling today, I just read it. (0:33) So, I think it’s interesting to put the body and device in the same question, (0:44) because we can, I don’t know, usually when I think of device, I’m thinking of like some technological machine, (0:51) such as a field recorder, or those things that amplify the heartbeats, I forget the names in English, (1:04) things that amplify sounds perhaps, you know, like sound devices, that’s what I think of, (1:13) but the body is also technology. (1:19) And it’s interesting to have those two things together, the body and device. (1:27) I think the body is also the listener and the performer, so that distinction is also interesting to explore. (1:37) What is your definition of listener, and what is your definition of performer, (1:44) and are we performing when we listen, should we perform when we listen, how can we better perform when we listen. (1:53) I think also, through Pauline Oliveros, it makes me think of when she speaks of active listening, (2:04) as the person that is sharing is also listening to the audience that’s listening in this continuous loop, (2:15) like paying attention to the listeners that are listening to you. (2:19) It’s kind of like the added attention to not only hear what I’m saying, (2:26) but I’m also going to pay attention to how you’re listening to what I’m saying, (2:31) which I think it’s a beautiful exercise for active listening or listening education. (2:39) I think the body perceives sound through their life experience, (2:53) through their emotional experience, through their memories, through their culture, (2:59) through their sensorial capabilities and diversity.(3:05) I think, yeah, through the knowledge or intention that each body may have. (3:19) And as far as the device, I think it’s also what types of devices are we talking about. (3:27) But I think if I were to make one point, (3:36) it’s that what we listen to is always being mediated either by a device or by a body. (3:45) So is there really listening without mediation? (3:50) I think that’s a good question to leave with. (3:53) Thank you so much for thinking of me, for your research. (4:00) It’s really an honour to be considered and wanting to hear me.(4:09) So thank you for that. I appreciate it. (4:12) And good luck and wish you the best. (4:15) And please keep me updated. (4:17) And yes, send me when you’re done. (4:19) I would really love to engage with your text. (4:23) All right. Thanks again Chiara. Hope to see you very soon. Have a good day. Ciao.

CK Oggi? Non è diverso da tanti anni fa. Ascolto sempre con la massima intensità: tutto quello che mi circonda. Naturalmente  anche musica di tutti i tipi. La sensibilità auditiva è  faticosa certe volte. Anche per questa esperienza ho fatto diversi lavori sul tema del silenzio, anche se il  silenzio non significa che non si sente niente. Ascoltare per me è come respirare.

CR In che modo l’ascolto può svelare ciò che è normalmente escluso dalla percezione?

CK Si possono usare tecnologie speciali per sentire e registrare  suoni normalmente non udibili.  Un problema è  la traduzioni di dati digitali che devono essere trasferiti nella gamma udibile. Spesso la complessità dei dati originali perde con la loro sonificazione. Il mio sistema d’induzione magnetica per  rendere udibile i campi magnetici è completamente diretto, non c’è bisogno di “tradurre” le frequenze.

CR Che ruolo gioca la tecnologia nel modificare i nostri sistemi percettivi?

CK Il mondo non era mai completamente silenzioso. Ma prima dell’industrializzazione. La relazione  di suono e di silenzi era strutturata in generale. La notte era il periodo di tranquillità . Oggi c’è attività sonora quasi sempre e dappertutto. La tecnologia costa sempre meno. L’ascolto continuo con sistemi di amplificazione o  con il smartphone e normale. L’orecchio come strumento sensibilissimo d’ascolto perde importanza. La tecnologia è veloce, seducente e potente.

CR Ha mai pensato al suono come forma di scrittura, come dispositivo di archiviazione?

CK Questa domanda mi stupisce.  Ogni mia installazione è basata su disegni, testi ,schizzi etc. Non è possibile per me lavorare senza avere anche un’idea scritta sul progetto. Naturalmente non sono punti neri su 5 linee.... Per le composizioni spesso uso spartiti grafici in combinazione con istruzioni verbali. Allego come esempio un pezzo per tre sintetizzatori del 2023, “Electrified”. L’archiviazione dei suoni registrati  per me e essenziale. Ho per esempio un archivio di registrazioni elettromagnetiche di più di 2000 recordings. Per me è come una biblioteca di suoni speciali che posso usare quando ho bisogno.

CR Che cosa rimane di un suono dopo che è scomparso?

CK Fisicamente niente se non è registrato o notato. Forse ricordi speciali. Diversi suoni elettromagnetici oggi non esistono più, per esempio certi sistemi di luce o di vecchi monitors di televisione. Stiamo perdendo anche  tanti suoni della natura nonostante abbiamo tutti i mezzi per documentarli.

CR In che modo lavora con la relazione  tra suono e spazio?

CK Per me non c’è questa divisione. Ascoltare significa sempre anche scoprire uno spazio. In generale oggi  si usano spesso sistemi multicanali come 5.1 che a non sembrano molto interessanti ma piuttosto “mainstream”. Posso invece essere seduta in mezzo della natura per periodi lunghi e sono sempre stupita da dove vengono i suoni. Lo spazio udutuvo non ha limiti. Per scoprire uno spazio ci  si vogliono anche gli occhi. Uso per esempio cavi elettrici come linee nello spazio o su muri. Il pubblico può seguire queste linee e scoprire  zone sonore diverse. Creo un’ aiuola con altoparlanti luminosi. Utilizzo parti dell’architettura per poter nascondere suoni  che così cambiano la percezione dello spazio. Penso che sia importante di potersi muovere in un’installazione sonora e  di avere la possibilit`di creare spazi soori individuali. Questo riguarda specialmente la mia tecnia d’ascolto con cuffie ad induttanza.

CR Che forma avrebbe un ascolto tradotto in immagine?

CK Guardando la storia dei spartiti grafici c’è già un’enorme quantità di esempi interessanti. Certe traduzioni dirette, per esempio pitture o disegni fatti ascoltando un pezzo di musica, mi sembrano piuttosto semplici e superficiali. Invece di “tradurre” un ascolto direttamente  è forse più interessante produrre qualcosa autonoma, cercando di creare immagini  con la stessa atmosfera di una composizione, un field recording, una canzone etc.etc.

CP Focussing on Listening is “expanding our attention“, as Pauline Oliveros would say referring to the Deep Listening Practice she has shaped. This practice also roots in a much older buddhist tradition. The experience one can have by „practicing“ listening, is indeed very powerful, can open up spaces, or in a certain sense let space and time shift, and transform. But I think how a person listens is very much shaped by the own history, culture and environment in which one has grown up and where one has developed a certain sense of listening. Me I grew up in a small village surrounded by mountains, so I’m very familiar with how nature shapes the sound environment in a particular way. And humans and animals react to that and communicate in a certain way too. Mountains mark very clear boundaries, and are very imposing bodies in the landscape, visually as acoustically. In an urban environment the dense acoustic environment fatigues the ear, and is for me often connected with a certain feeling of hyper-sensibility.  And I must say, it’s a sheer delight for the ears, when you can experience an acoustic sonic environment, that is transparent and porous.

CR In your opinion, what is the difference between sound and voice?

CP If you attribute an identity or agency to something, anything, a living being, or even an object, you can also relate to the object a certain voice. In a sense, everyone and everything has a voice, somehow. Plants for instance, do also emit soundwaves, so they do communicate. Do computers have a voice? Of course in a strict more literal sense, voice is connected to a vocal organ.

CR Have you ever thought of sound as a form of writing, or as an archival device?

CP Yes sound can definitely be seen as a form of writing. It can indeed also exist as a piece of writing, or persist as something inscribed into our bodies, transcribed as a drawing, and also physically as waves on a device. It is strongly related to memory, and narratives.

CR What kind of writing is produced by sound in space?

CP Sound is always connected to space. You cannot separate them. You hear a sound in space, and what you remember will be both, so they are deeply intertwined. The space shapes the morphology of a sound traveling within it.

CR What role does technology play in altering our perceptual systems?

CPTechnology gives us possibilities to zoom into the sounds, to intervene in time and space (spectrum), so it has shaped our perception enormously. We have gained an extra-sense on how to listen, still it is in some way also limiting and defining, when we only or too much hear through technological devices.

CR What stays with you after listening to a place?

CP It depends on the level of concentration, how detailed I can reconstruct In my head a listening place, but in an ideal way, everything can stay present, the sounds I heard in the moment, how they related to each other, and what impact they had on me.

CR If you had to invent an exercise to activate attentive listening, what would it be?

CP I don’t know if there’s anything to invent new : I love to come back to existing exercises , like the soundwalk practice, shaped by Hildegard Westerkamp. And then depending on each place and context, I can adapt them , so it is always new in a way, but different depending on the situation. It is the same with the deep listening practice: Pauline Oliveros has not re-invented the wheel, but took up a practice, connected to buddhist meditation, and reshaped it in her own environment and surroundings. But yes: maybe anyway a small instruction, that just pops into my mind: what is always beautiful to hear is, how the domestic sounds blend with the outside soundscape. And you can do that at home in any room: first listen with windows closed, and focus on how much and what sounds bleed into your domestic environment, after around 5-10 minutes open the windows, observe how the sound environment changes. Do the sounds between inside and outside seem more connected ? Do you perceive a sort of synchronicity/interconnectedness between the sounds present?

YT Because we are here playing (0:00) Hi Chiara, thank you for the second question. (0:04) I think it’s an interesting question that perhaps some sound artists have engaged with. (0:12) And maybe it’s not just a matter of like what happens to listening when it is mediated by technology, (0:17) but also what happens to sound. (0:21) Immediately I think of the work of Alvin Lucier (0:24) with a piece that is called I’m Sitting in a Room. (0:31) I don’t know if you know this work, (0:33) but I think you might have some really interesting reflections (0:39) on his approach to sound and technology, recording technology. (0:48) But to keep things short, (0:50) I think for me what’s most interesting about this technological mediation (0:55) is that it just plays even more so with time and space. (1:02) So if something was recorded, (1:05) I think of the whale recordings from 1970, for example, (1:10) by bioacoustician Roger Payne. (1:12) And today we’re still listening to those first recordings of whales (1:17) and how that recording specifically aided Greenpeace on saving the whales. (1:26) I mean, I’m giving a really short answer here, (1:29) because not only did the recording help the whales from extinction, (1:35) most people would say, (1:37) they also increased the number of seaquariums, (1:41) which plays on the role of capitalism on wanting to consume sounds. (1:47) And I think recordings help humans consume sounds (1:53) that otherwise would be left only by those who would experience nature (2:00) through an excursion or to being there, being present. (2:07) Not that listening to recordings doesn’t mean we cannot be present, (2:12) but I think that’s another question and another conversation. (2:17) Something that I would also invite you to think about is artificial intelligence (2:21) and how it has been listening to some marine animals, for example, (2:29) and trying to translate the sounds (2:34) they make underwater. (2:36) So there’s a whole other modality of recording these days (2:41) that is even more so mediated by artificial intelligence, (2:46) which could be something interesting to look at for your research. (2:55) Also, if you remind me by email, I can send you some references, some essays, (3:00) because it also makes me think of the history of fruit recording, (3:03) which started off as a military technology meant to listen to enemies, (3:11) which then eventually started capturing the ecosystems, the wind, birds, insects, (3:19) which then helped or allowed science and art to use sound, (3:26) perhaps in a less intrusive way (3:31) than some science and art may have practised. (3:37) Anyways, as you can tell, there’s a lot to say about this. (3:40) If any of this resonated with you, let me know, (3:42) and I can send you some references, okay, or via email or on your whatsapp account? (3:47) Thank you again for this question.

CR What kind of trace does a sound leave, in your view? Is it visual, mnemonic, or material?

YT (0:00) Hi Chiara, good morning. (0:05) Well, I think yes, all of the above. I think sound leaves a lot of different kinds of traces, (0:14) including the ones you mentioned. I think we also, as human beings, perhaps don’t even have the (0:22) capability of really sensing the infinite of traces the sound leaves behind. (0:28) So I think it’s also a question from which perspective are you asking that question from? (0:35) But since I’m a human, I will reply as the human individual, human that I am. (0:44) I think for me, what’s interesting and powerful of sound, and it’s something that Paulino Oliveros, (0:53) I guess, speaks a lot about in the Tiplissian practise, is how sound (1:03) is very much intertwined between the exterior sound and the internal sound. (1:07) And the internal sound meaning our emotions and memories and dreams. (1:14) And I think that’s the most important trace the sound leaves behind as far (1:19) as my interest goes right now at this moment, how emotional (1:25) traces of sound get imprinted within us. So even thinking about sounds of our childhood, (1:36) of places where we are from, of territory, of birds, songs, music, how that activates (1:47) emotional response within us. And not just the emotional trace, but I think for me what’s been (1:55) really inspiring to keep researching on is the spirituality of sound. And I know that’s a big (2:04) word that can be interpreted in many, many ways. But I think there is a cosmological sort of (2:15) spiritual connection with sound that also is very impactful and leaves a trace in the way we (2:23) relate to the world around us, to the knowledge of other ways of seeing cosmologies or evolution or (2:35) creation, et cetera, et cetera. So yeah, that is what I would reply right now. (2:42) Thank you for the question.

CR Have you ever thought of listening as a form of writing? And if so, what kind of writing would it be?

YT (0:00) Hi Chiara, very interesting question. I can’t say I’ve thought of listening as a form of writing per se, even though it is very intriguing to me where you’re coming from with that. But I do think there’s definitely some sort of like methodological approach to (0:31) listening that can be done through writing. So for example, like preparing for a workshop, a listening workshop, there’s actually some instructions that I write in order to prepare, even perhaps like some sort of partituras, like musical sheets, I guess, that can help (0:53) guide the workshop. And also listening as fiction, perhaps, has been a way I’ve engaged (01:06) with listening in writing, perhaps not as writing. But well, there was this performance I did with a colleague, Fabiana Vinagre, where we sat blindfolded and wrote down things that we were listening to in various different spaces in the city. So maybe that’s a way to write (01:37) and listen at the same time. But yeah, very interesting question. If you’d like to share a little bit about listening as writing, if you have any references or how you’re thinking about it, (01:52) that would be lovely. Thank you.

CR How does the body, of the listener, the performer, or the device, shape the perception of sound?

YT (0:00) Hi Chiara, I just want to start by saying that your project sounds super interesting, (0:08) and yes, I would really love to get a copy and learn more about your research. (0:15) And to answer your last question, as the other ones, it’s a deep question with many ramifications, (0:26) so I’ll answer it today with what I am feeling today, I just read it. (0:33) So, I think it’s interesting to put the body and device in the same question, (0:44) because we can, I don’t know, usually when I think of device, I’m thinking of like some technological machine, (0:51) such as a field recorder, or those things that amplify the heartbeats, I forget the names in English, (1:04) things that amplify sounds perhaps, you know, like sound devices, that’s what I think of, (1:13) but the body is also technology. (1:19) And it’s interesting to have those two things together, the body and device. (1:27) I think the body is also the listener and the performer, so that distinction is also interesting to explore. (1:37) What is your definition of listener, and what is your definition of performer, (1:44) and are we performing when we listen, should we perform when we listen, how can we better perform when we listen. (1:53) I think also, through Pauline Oliveros, it makes me think of when she speaks of active listening, (2:04) as the person that is sharing is also listening to the audience that’s listening in this continuous loop, (2:15) like paying attention to the listeners that are listening to you. (2:19) It’s kind of like the added attention to not only hear what I’m saying, (2:26) but I’m also going to pay attention to how you’re listening to what I’m saying, (2:31) which I think it’s a beautiful exercise for active listening or listening education. (2:39) I think the body perceives sound through their life experience, (2:53) through their emotional experience, through their memories, through their culture, (2:59) through their sensorial capabilities and diversity.(3:05) I think, yeah, through the knowledge or intention that each body may have. (3:19) And as far as the device, I think it’s also what types of devices are we talking about. (3:27) But I think if I were to make one point, (3:36) it’s that what we listen to is always being mediated either by a device or by a body. (3:45) So is there really listening without mediation? (3:50) I think that’s a good question to leave with. (3:53) Thank you so much for thinking of me, for your research. (4:00) It’s really an honour to be considered and wanting to hear me.(4:09) So thank you for that. I appreciate it. (4:12) And good luck and wish you the best. (4:15) And please keep me updated. (4:17) And yes, send me when you’re done. (4:19) I would really love to engage with your text. (4:23) All right. Thanks again Chiara. Hope to see you very soon. Have a good day. Ciao.

CK Oggi? Non è diverso da tanti anni fa. Ascolto sempre con la massima intensità: tutto quello che mi circonda. Naturalmente  anche musica di tutti i tipi. La sensibilità auditiva è  faticosa certe volte. Anche per questa esperienza ho fatto diversi lavori sul tema del silenzio, anche se il  silenzio non significa che non si sente niente. Ascoltare per me è come respirare.

CR In che modo l’ascolto può svelare ciò che è normalmente escluso dalla percezione?

CK Si possono usare tecnologie speciali per sentire e registrare  suoni normalmente non udibili.  Un problema è  la traduzioni di dati digitali che devono essere trasferiti nella gamma udibile. Spesso la complessità dei dati originali perde con la loro sonificazione. Il mio sistema d’induzione magnetica per  rendere udibile i campi magnetici è completamente diretto, non c’è bisogno di “tradurre” le frequenze.

CR Che ruolo gioca la tecnologia nel modificare i nostri sistemi percettivi?

CK Il mondo non era mai completamente silenzioso. Ma prima dell’industrializzazione. La relazione  di suono e di silenzi era strutturata in generale. La notte era il periodo di tranquillità . Oggi c’è attività sonora quasi sempre e dappertutto. La tecnologia costa sempre meno. L’ascolto continuo con sistemi di amplificazione o  con il smartphone e normale. L’orecchio come strumento sensibilissimo d’ascolto perde importanza. La tecnologia è veloce, seducente e potente.

CR Ha mai pensato al suono come forma di scrittura, come dispositivo di archiviazione?

CK Questa domanda mi stupisce.  Ogni mia installazione è basata su disegni, testi ,schizzi etc. Non è possibile per me lavorare senza avere anche un’idea scritta sul progetto. Naturalmente non sono punti neri su 5 linee.... Per le composizioni spesso uso spartiti grafici in combinazione con istruzioni verbali. Allego come esempio un pezzo per tre sintetizzatori del 2023, “Electrified”. L’archiviazione dei suoni registrati  per me e essenziale. Ho per esempio un archivio di registrazioni elettromagnetiche di più di 2000 recordings. Per me è come una biblioteca di suoni speciali che posso usare quando ho bisogno.

CR Che cosa rimane di un suono dopo che è scomparso?

CK Fisicamente niente se non è registrato o notato. Forse ricordi speciali. Diversi suoni elettromagnetici oggi non esistono più, per esempio certi sistemi di luce o di vecchi monitors di televisione. Stiamo perdendo anche  tanti suoni della natura nonostante abbiamo tutti i mezzi per documentarli.

CR In che modo lavora con la relazione  tra suono e spazio?

CK Per me non c’è questa divisione. Ascoltare significa sempre anche scoprire uno spazio. In generale oggi  si usano spesso sistemi multicanali come 5.1 che a non sembrano molto interessanti ma piuttosto “mainstream”. Posso invece essere seduta in mezzo della natura per periodi lunghi e sono sempre stupita da dove vengono i suoni. Lo spazio udutuvo non ha limiti. Per scoprire uno spazio ci  si vogliono anche gli occhi. Uso per esempio cavi elettrici come linee nello spazio o su muri. Il pubblico può seguire queste linee e scoprire  zone sonore diverse. Creo un’ aiuola con altoparlanti luminosi. Utilizzo parti dell’architettura per poter nascondere suoni  che così cambiano la percezione dello spazio. Penso che sia importante di potersi muovere in un’installazione sonora e  di avere la possibilit`di creare spazi soori individuali. Questo riguarda specialmente la mia tecnia d’ascolto con cuffie ad induttanza.

CR Che forma avrebbe un ascolto tradotto in immagine?

CK Guardando la storia dei spartiti grafici c’è già un’enorme quantità di esempi interessanti. Certe traduzioni dirette, per esempio pitture o disegni fatti ascoltando un pezzo di musica, mi sembrano piuttosto semplici e superficiali. Invece di “tradurre” un ascolto direttamente  è forse più interessante produrre qualcosa autonoma, cercando di creare immagini  con la stessa atmosfera di una composizione, un field recording, una canzone etc.etc.

CP If you attribute an identity or agency to something, anything, a living being, or even an object, you can also relate to the object a certain voice. In a sense, everyone and everything has a voice, somehow. Plants for instance, do also emit soundwaves, so they do communicate. Do computers have a voice? Of course in a strict more literal sense, voice is connected to a vocal organ.

CR Have you ever thought of sound as a form of writing, or as an archival device?

CP Yes sound can definitely be seen as a form of writing. It can indeed also exist as a piece of writing, or persist as something inscribed into our bodies, transcribed as a drawing, and also physically as waves on a device. It is strongly related to memory, and narratives.

CR What kind of writing is produced by sound in space?

CP Sound is always connected to space. You cannot separate them. You hear a sound in space, and what you remember will be both, so they are deeply intertwined. The space shapes the morphology of a sound traveling within it.

CR What role does technology play in altering our perceptual systems?

CPTechnology gives us possibilities to zoom into the sounds, to intervene in time and space (spectrum), so it has shaped our perception enormously. We have gained an extra-sense on how to listen, still it is in some way also limiting and defining, when we only or too much hear through technological devices.

CR What stays with you after listening to a place?

CP It depends on the level of concentration, how detailed I can reconstruct In my head a listening place, but in an ideal way, everything can stay present, the sounds I heard in the moment, how they related to each other, and what impact they had on me.

CR If you had to invent an exercise to activate attentive listening, what would it be?

CP I don’t know if there’s anything to invent new : I love to come back to existing exercises , like the soundwalk practice, shaped by Hildegard Westerkamp. And then depending on each place and context, I can adapt them , so it is always new in a way, but different depending on the situation. It is the same with the deep listening practice: Pauline Oliveros has not re-invented the wheel, but took up a practice, connected to buddhist meditation, and reshaped it in her own environment and surroundings. But yes: maybe anyway a small instruction, that just pops into my mind: what is always beautiful to hear is, how the domestic sounds blend with the outside soundscape. And you can do that at home in any room: first listen with windows closed, and focus on how much and what sounds bleed into your domestic environment, after around 5-10 minutes open the windows, observe how the sound environment changes. Do the sounds between inside and outside seem more connected ? Do you perceive a sort of synchronicity/interconnectedness between the sounds present?