I am very grateful for the invitation to talk at Exchange Talks, at The Royal Conservatoire of Scotland, on the last 24th of October. Thanks to Dr. Benjamin Redman, for the invitation, and to Dr J Simon van der Walt, for chairing the talk and the Q&A questions. Thanks to the attendees and your questions and comments regarding the use of the INTIMAL App in the Listening of Sonic Migrations, to work with family stories of migrants and the healing potential of this artistic intervention. Also the consideration to migratory animals, such as birds, which start to awake more and more in people’s aural journeys these days. The enthusiasm received in this talk, as well as the welcoming of the sonic alternatives that come with a lower budget, bringing an accessible tool, are really welcome.
I am very grateful for the invitation to Yarmonics Festival in Great Yarmouth. The festival is a gathering creating sense of place at Great Yarmouth, through sound and listening. I offered a talk about the INTIMAL embodied system for relational listening, as a set of technologies to listen to what I have called “Sonic Migrations”.
The panel on which I talked was focused on Sound and Health and was chaired by Martin Scaiff. AM Kanngieser connected via Zoom to offer her talk. Martin’s talk focused on the experience of listening activities with children and teenagers, while AM Kanngeiser on the awareness of consent for listening/recording marine creatures’ sounds. I found both talks fascinating as they expressed an urgency of exploring these listenings for sustainable futures.
I received wonderful feedback and questions such as “what would be my ideal interface”, and “how do I negotiate place and presence” with Quantum listening. My ideal interface might be one that reinforces my individual and collective agency while I move with others co-present and across the distance. Regarding location, I still strive for sensing a balance, in which I remain grounded even across the distance. A technology that reminds me about the practice and reinforces the multiple possibilities of being that Pauline Oliveros invited us to explore. Still practising, and listening in the practice.
“Through eliciting and compiling new writings from a formidable list of women with broad and diverse sound practices and expertise, O Keeffe and Nogueira have produced an intriguing volume”. Pamela Z
It includes book chapter contributions from an amazing selection of women, including Heather Frasch, @laurenhayes, @raquelstolf, Sanne Krogh Groth, Tânia Neiva, Irene Revell, @Luciana Lyra, Ida Mara Freire, Antye Greie- Ripatti (AGF/ poemproducer), Laila Rosa and @adrianagabrielasantostexeira, Lílian Campesato and Valéria Bonafé, Cat Hope, Susie Green and Margaret Schedel, @irinerosnes, Sophie Knezic, Ximena Alarcon, Sandra Pauletto.
I was honoured to be a keynote for the launch of this tremendous book! Thanks for the wonderful launch Linda O Keefe Isabel Nogueira and speakers Valéria BonaféLílian Campesato Heather Frasch, Sandra Pauletto, Jennifer Lynn Stoever & Liana Silva, and the workshop by Susie Green and Margaret Schedel! Really honoured to be the keynote speaker, thanks to all. Much learning and inspiration!
Proud to be contributing to the first of three podcast series ‘Listening to the In-Between’ exploring the practice of Deep Listening® in ArtEZ Studium Generale in Arnhem, The Netherlands. Thanks to Joep Christenhusz, researcher and music journalist for this great work full of curiosity. I am very happy sharing this sound space with Ed McKeon bringing our knowledge and experience into Deep Listening and the legacy of Pauline Oliveros. Listen and read here: https://tinyurl.com/25udun6n
Soundings was a seminal 5-day gathering of musicians, artists, performers, and sound scholars from outside of the European canon. Soundings addressed “the dearth of critical engagement with artists and thinkers working on the margins of the Eurocentric discourses, to counteract a scant presence of the Global South, diasporic, and indigenous music and sound works, and scholarship in the contemporary fields of music and sound arts”. In meaningful soundings and listenings with diverse formats, I was invited to listen to the plants, as well as the research and art of my artists-researchers-thinkers colleagues from the Global South, who have engaged also in migratory journeys to make their voices, thoughts and artistic and intellectual development heard and evolve in countries from the Global North. A deep and critical revision of how we voice and listen was framed with silences for reflection, on what unites us, also on our diversities, and how we find ways for being recognised on equal levels for our long-distance journey to be supported across the globe.
This issue of the Journal addresses the theme “Network Arts: Transformation of Distance.” Questions on different aspects of distance are addressed by the five articles involving different technologies, art practices and contexts, in contemporary times of connecting during the Covid-19 pandemic.
I am very grateful for the invitation to speak at the CTM Festival 2022, at the panel Contact with the more-than-human-world. The panel brought together reflections from Jono Gilmurray, Susan Schuppli and Faiza Ahmad Khan, AM Kanngieser and Zoe Todd. Curated by Anita Jóri, the panel explored how sound artists have engaged politically, socially and aesthetically with our environments, in the context of climate crisis. How our work might respond to the urgent questions of listening, and the negotiation of our position in relation to other more-than-human entities. I offered a talk on “Sonic Migrations: resonances that hold us as we walk through telematic rituals for agency.”
They were invited to walk and listen to resonances with the places where they live, with themselves, and with others in distant locations. This is for me a collective and uplifting meditation. Thanks a lot to the improvisers! Cássia Carrascoza Bomfim (São Paulo- Brazil), Viv Corringham (New York, USA), Gloria Damijan (Vienna, Austria), Rachel Koenig Raven (Atlantic Beach, New York), Calvin Niles (London, UK), Dayana Rivera (Madrid, Spain), Biggi Vinkeloe (Sweden, California-US, India), Jane Wang (Boston, MA, USA).
Earth Day Art Model is developed by the artistic director Scott Deal, director of live programming Harry Chaubey, and a team from the Donald Tavel Arts and Technology Research Center, at IUPUI Department of Music and Arts Technology and Deck Media.