ABOUT AUDIO PAPER 

I believe my thinking has a voice and this voice has a body.

My thinking has therefore a body, is a sensually embodied experience in a particular situation;

For Pauline Oliveros, founder of the Deep Listening Institute, we not only listen with our ears, but we listen with our whole body in order to tune in:

I consider my artistic research as a listening-thinking process in exchange with the world.

Hearing is a relational sense. Seeing is an activity which can be isolated – hearing isn’t.

A listening-sounding approach does not take place in isolation but in correlation with other senses or media;

“The voice has inner and outer qualities, it has a performative character, it performs, it is an event and it is seen as 

performative phenomenon per se. (Kolesch /Kremer in Stimme 2006)

Listening as a physical performative act is a creative process of “becoming world”, of participating in the world. It implies an „Insider-Outsider“ relationship between researchers and researched; it resolves the borders between subjects and objects.

I hear and note: voice and gaze create vicinity and distance, transience, fluidity and fleetingness as a framework for the search for orientation. A directionless search. With from ‘listening to thinking’, I transfer my body to the paper until the color fades. Sequence and frequency. Spreading out like sound. Being here and there at the same time, like the voice. I am rendering traces and imprints visible, and I am revealing layers by engaging with the locations, with the materials, with the narrative, leading right down to the voice itself. For me the exploration of the nature of original materials – that is,the recently supplemented, reconstructed material, but also the technique of leaving gaps between pieces of original finds and the interpretation of missing pieces _ like in the restoration process – serves as a conceptual basis or a figure of speech. Several stories are told simultaneously. They share the same interest in the materiality of the voice and in forms of narration.”

The specificity of listening and the paradigms of the acoustic as well as the material and medial qualities of the human voice, will shape the repertoire of my work and lend a form to my search movements. It is precisely this correlation which gives it space and body and can thus be described as a sounding research method.

For Roland Barthes, hearing is a physiological phenomenon whereas listening is a psychological act. He argues that we need to reform and change listening in order for language to change radically.

What does it mean to organise experience not in accordance with time but in “disjointed temporalities, multiple rhythms, and dramaturgies of time”?

On the page of the Poetry Foundation it says that „Gertrude Stein was trying to transform literature from a temporal into a purely spatial art, to use words for their own sake alone. Not trusting narration to convey the complexity of human behavior, Stein employed description to achieve what she called “a continuous present.” She compared the technique to a motion picture camera, which freezes action into separate frames. Though no two frames are exactly alike, when viewed in sequence they present a flowing continuity.”

 the voice is at the same time always also a demonstration of it. By showing and referring, the symbolic meaning of language coincides in speaking with the revealing of the body. The "grain of the voice", according to Roland Barthes, allows the materiality of the voice, the body in the voice, to be heard.

:”You have to sense the people you´re talking to. You have to respond to what they hear.“This quote by James Baldwin was sent to me as a text message by a friend and has been on my mind ever since.

What does it mean to move through the world listening?

Finding, creating and linking forms, objects and narratives are integral parts of my work processes. Yet, how do my forms, narratives or topics emerge? How do I arrive at a decision? What catches my attention? What do I notice? Which are the relationships I establish and which ones do I leave out?

UltraRed, ask in Notes on the Protocols for a Listening Session, 2013.

”To what degree are we able to listen to different kinds of intelligences, and how can we incite receptivity? How do we address the fact that the right to listen is relative, and that the right not to listen, or to remain silent, is also a genuine stance? Can we press on and position listening as a political act? And how do we further develop our ability to "listen for what is left out, and why"?

The head does not know what the hand is doing.

Your paper becomes unacceptable as research,

dysfunctional - like art, you want to say.

Your body turns on itself - every step hurts. Flashes of nerve, vulnerability as form.

You receive your wages in a roundabout way.

You make the voids between found objects sound.

First words and sentence fragments, then free signs, lines, drawings.

While listening evenly suspended attention comes up against free association.

You start writing in dialect to make yourself at home. 

You can neither prove nor disprove it, you recognize the world as something undecidable to order.

You deal with the staging of the audible.

What is the Acousmatic of this text? What are its sounds?

From which perspective is this voice speaking?

”In this version of understanding the verb to grasp contains the movement of hands that grasp their surroundings and bring them back to themselves. A gesture of enclosure if not appropriation. Let our understanding prefer the gesture of giving-on-and-with that opens finally on totality." (Eduard Glissant, Poetics of Relation, 1997.)

If my thinking has a voice and this voice has a body: Then, ……….?

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Deep Listening, A Composers Sound Practice

Kolesch, Doris / Krämer, Sybille (Hg.) (2006), Stimme, Frankfurt am Main p. 11

Barthes, Roland (1985) “Listening.” 

. Ed. Richard Howard. CA: University of California Press.

https://www.poetryfoundation.org/poets/gertrude-stein

Baldwin, James (1984) The Art of Fiction No.78. Interview by Jordan Elgrably in The Paris Review, Issue 91, Spring.

Lemos, Sofia: ‘Listening to time at sound’s limits’. The Contemporary Journal 3 (March 2020). 

https://thecontemporaryjournal.org/issues/sonic -continuum/sonic-continuum-introduction.

UltraRed (2013), in Notes on the Protocols for a Listening Session (Glasgow Variation), in On Listening, edited by Angus Carlyle and Cathy Lane, Uniformbooks , p.33 .

Glissant, Édouard (1997), Poetics of Relation, Ann Arbor: The University of Michigan Press, [translated by Betsy Wing and originally published by Éditions Gallimard, Paris as Poétique de la relation. Poétique III], pp. 189-192.

PARA–LISTENING

„You have to sense the people you´re talking to. You have to respond to what they hear.”

My audio piece for the Telepathic Ensemble is a recording of a ritual (inspired by Jerry Hunt). In an unexpected insight, I go to my studio terrace in Vienna at 6 pm on the 21st of May 2021. With a view to the Vienna Woods, I begin a ritual through which I establish a connection to possible sounds elsewhere. Between broadcastingand receiving, an air piece for the power of imagination emerges –  a mental-radio-piece. 

The ritual: Graaaaaaaaaaaahhhhhhhhhhhh– SOUND 1: thinking of a friend / SOUND 2: the hidden message / SOUND 3: synth mystery / SOUND 4: a car / SOUND 5: a passant / SOUND 6: playing classical music at the country club / SOUND 7: command yourself to relax / SOUND 8: thinking of nothing/ SOUND 9: to converse with angles / SOUND 10: fiddling with wires / SOUND 11: abstract und complex / SOUND 12: gesture groups / SOUND 13: grinding away / SOUND 14: connecting correspondences / SOUND 15: layers, strings, masques / SOUND 16: stage delusion/ SOUND 17: signing/ SOUND 18: punctuation of thoughts SOUND 19: a thirty thousand Euro grant / SOUND 20: domestic realism / SOUND 22: talismans / SOUND 23: a state of permanent transformation/ SOUND 24: grounding/ SOUND 25: comedy/ SOUND 26: radical skepticism / SOUND 27: the totem lost in the woods.

Mental Radio

In April 2021, Karen Werner invited Ricarda Denzer to a one-hour live broadcast on her community radio station SkottegatenFM. The 5 weekly conversations are oriented towards the form of "free association" around the theme of 