The Center For Deep Listening

TEXT SCORE FOR TEXT SCORES, by Christopher DeLaurenti

Christopher DeLaurenti makes sound works for installations, albums, live performances, and radio broadcasts ranging from N30: Live at the WTO Protest November 30, 1999 (2000) to echolocation: (Return to the Cooling Tower, Satsop) (2023). His text scores include “I am the Messiah!” and notoriously, By Reading This You Are Performing This Score So Give Me 50 Cents (for any number of performers and a functioning postal system). Much of his sound work is usually free and mostly on-line.

LANDSCAPE STUDY, by KORY REEDER

Kory Reeder is an American composer and performer whose music investigates ideas of objectivity, place, immediacy. His music has been released on Edition Wandelweiser, Petrichor Records, Sawyer Editions, Impulsive Habitat, and Another Timbre (upcoming). Kory is from Nebraska and currently resides in Texas where he is an active performer and is currently pursuing a PhD. at the University of North Texas.

Soundfield Memory Restoration Archive #3, by Anne Bourne

Is it possible that one could memorize the sound of a place as one would memorize the world of a book, the universe of a library? The Soundfield Memory Restoration Archive presupposes that if we tune ourselves to be keepers of soundfields, if we can hold a soundfield in memory, we may imagine it’s beautiful complexity back into being. It takes the form of a trope on Oliveros’ Can you Imagine meditations which began as visualizations of space and time, maps of the body, and ended as evocative choreographies of quantum
listening.

Artist Anne Bourne creates emergent streams of sonics, field recording, and words. Seasoned in international concert touring, shift to research/creation with Astrida Neimanis;
Philippe Léonard; Hanna Sybille Müller; Kara Lis Coverdale. Improviser with Pauline Oliveros, alumni of sangre de cristo mountain deep listening retreats. Anne imparts Oliveros’ text scores in collective empathic gesture, and walks. Affiliate of Center for Deep Listening, NY; COHDS, Concordia, Montreal; IICSI, CA; Trustee for IONE, Pauline Oliveros Trust. Research: ocean literacy, TBA21 OceanUNI, Venice, IT; sound field ecologies, Geopoetics Symposium; Chalmers Fellow. Anne composes in attunement to the spectral wave patterns of water.

A SCORE FOR LISTENING TO THAT WHICH WE CANNOT HEAR, by Freya Zinovieff

Freya Zinovieff is a sound artist, researcher and curator currently completing her PhD at the School of Interactive Arts and Technology, Simon Fraser University. She holds a first-class honours degree from Cambridge School of Art at Anglia Ruskin University, and an MFA from University of New South Wales, Sydney. Freya’s research explores theoretical and practice-based approaches to listening in the context of borders, coloniality, and crisis. Her current research tracks the radical right in Canada to understand better narcissistic nationalism in relation to the fetishization of cis-heteronormativity.

EAVESDROPPING, by Rémy Bocquillon

Rémy Bocquillon is a Postdoctoral research assistant and Lecturer in Sociology at the University of Eichstätt-Ingolstadt, Germany. His research interests revolve around epistemic practices bridging the gap between arts, science, and philosophy, which he explores through his own creative work as a sound artist and musician. His latest projects include the publication of his book “Sound Formations. Towards a sociological thinking-with sounds” and the sound installation “Activating Space | Prehending the City”. He was also the artist in residence for the 2023 SpokenWeb Symposium, for which he realised the octophonic sound installation “in_between”.

NO SPACE, by Dani Puig & LaLA Padula

Dani Puig and Lala Padula are a duo of composers, educators and artist-researchers working together since 2021 at Cátedra de Educação Básica at the Institute of Advanced Studies at the University of São Paulo, Brazil. Their work is situated at the interface between deep listening, electroacoustic music, concert music and experimental interactions with different media besides sound, and the use of unconventional scores and algorithms for live electronics. They have researched contributions from systems thinking, complexity studies and active methodologies in education and artistic practice..

CALLS FOR CHANGE, by Elizandro Garcia-Montoya

Elizandro Garcia-Montoya is an active performer and educator who has performed with the Cleveland Orchestra, Sarasota Opera, Houston Grand Opera, Jacksonville Symphony, and was Principal Clarinet of the State of Mexico Orchestra in Toluca, Mexico. A silver prizewinner in the 1999 Fischoff National Chamber Music Competition, Elizandro continues to pursue his chamber music career and performs regularly with Fifth House Ensemble, the Chicago Ensemble and Midsummer’s Chamber Music Festival.

ECOCHOIR, by VIV CORRINGHAM

VIV CORRINGHAM is a vocalist, composer and sound artist. She holds an MA Sonic Art from Middlesex University, London, and a Deep Listening teaching certificate. She explores people’s sense of place and the link with memory through concerts, soundwalks, installations and listening workshops. Awards include two McKnight Composer Fellowships through American Composers Forum. Work has been presented in 26 countries in venues including Hong Kong Arts Centre, Fonoteca Nacional de Mexico, Issue Project Room New York, Onassis Centre Athens, ICA London and Serralves Museum Portugal.

TO OPEN A WOUND, by Gabrielle Harnois-Blouin

Gabrielle HB is a sound artist working between the unceded territories of Nitaskinan and Tiohtià:ke, also known as Lanaudière and Montréal, in so called Canada. She uses voice, words, synthesisers and field recording to generate works. Through her projects and daily life, she tries to access more subtlety, care and slowness. She holds a master degree in Sound Arts from the London College of Communication (UK) and works as Le Désert Mauve, an audiovisual duo playing soft synthesis. She loves cold lakes, blue skies and ground cherries.