Sonic Migrations – INTIMAL: Interfaces for Relational Listening

Academic-Dissemination, INTIMAL App©, Sonic Migrations

Sonic Migrations through the INTIMAL App: RCS Talk 24/10/22

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.

A link to the recording of my talk is here.

INTIMAL is a telematic sound art research project and "embodied" system for listening to our sonic migrations.

© Ximena Alarcón, 2017-2023. All Rights Reserved.

INTIMAL's vision is to expand people's sense of place and sense of presence, with the use of embodied interfaces and networking technologies in live improvisatory sound performances, interconnecting people across local and distant locations, while creating dream-like narratives of place.

INTIMAL is conceived and led by the artist-researcher Dr. Ximena Alarcón Díaz who was awarded a Marie Skłodowska Curie Individual Fellowship 2017-2019 at the RITMO Centre, Dept of Musicology, University of Oslo, for developing the first stage of this project. Now she is working independently and supported as a Resident at The Studio, Bath Spa University's Enterprise and Innovation Hub.

It was funded in its first stage by the Marie Skłodowska Curie Individual Fellowship 2017-2019 awarded to Dr Ximena Alarcón Díaz, who developed it at the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology at the University of Oslo.

This project received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No 752884, and partial funding from the Research Council of Norway through its Centres of Excellence scheme, project number 262762.