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Evocative Listening: Mediated practices in everyday life
Rui Chaves and Pedro Rebelo
Organised Sound / Volume 17 / Special Issue 03 / December 2012, pp 216 - 222
DOI: 10.1017/S1355771811000410, Published online: 11 January 2012
Link to this article: http://journals.cambridge.org/abstract_S1355771811000410
How to cite this article:
Rui Chaves and Pedro Rebelo (2012). Evocative Listening: Mediated practices in everyday life. Organised Sound, 17, pp
216-222 doi:10.1017/S1355771811000410
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Evocative Listening: Mediated practices in
everyday life
1
RUI CHAVES* * and PEDRO REBELO
y
Sonic Arts Research Centre, Queens University Belfast, Belfast BT7 1NN, UK
E-mail: **rchaves01@qub.ac.uk;
y
p.rebelo@qub.ac.uk
First published online 11 January 2012
The history of sonic arts is charged with transgressive
practices that seek to expose the social, aural and cultural
thresholds across various listening experiences, posing new
questions in terms of the dialogue between listener and place.
Recent work in sonic art exposes the need for an experiential
understanding of listening that foregrounds the use of new
personal technologies, environmental philosophy and the
subjectobject relationship. This paper aims to create a
vocabulary that better contextualises recent installations and
performances produced within the context of everyday life, by
researchers and artists at the Sonic Arts Research Centre
at Queens University Belfast.
1. INTRODUCTION
Sound in a cultural, technological and cognitive context
mediates ones relationship with place (Blesser 2007).
The use of sound to appropriate and aestheticise
everyday life, represented in the use of audio players
(Bull 2004), has shifted individual listening practices.
Other mobile devices, such as smartphones, provide the
possibility of remote listening through the use of net-
works. By operating between the public and private
sphere, these personal technologies enhance notions of
place as a multi-layered charged concept (Coyne 2010).
These technologies are part of what Raymond
Ledrut (1986: 11434) calls things. They form part of
a wider urban semiotic construct that encompasses
buildings, roads and the necessary infrastructures
upon which city life is based. Attaching significance
to these elements is personal and connected to sig-
nificant social, cultural and economic conditions,
prompting individual meta-languages.
The true issue is not to make beautiful cities or well man-
aged cities, it is to make a work of life. (Ledrut 1986: 133)
It is this idea of continuous signification that interests
us; works that appear in the context of everyday life
can function as open scores, that reveal relationships
between listening and place. Mobile devices aid in this
tuning of place as described by Coyne (2010) in
which new technologies signal the emergence of new
practices in everyday life. This can be exemplified in the
movement of an individual through space urged by the
need to search for better reception for a mobile phone.
This process of negotiation constitutes a symbolic,
metaphorical and physical threshold that signifies the
transition from one place to another (e.g. a door, a
window or the silence observed when entering a library).
The sonic experience in the city displays its own
form of thresholds. For example, before starting to read
this article, you experienced or negotiated a series of
other spaces: perhaps you opened the door to your
home and suddenly the soundscape shifted with the
presence of car traffic at the end of your street, mixed
with other sonic events that are surrounding you.
These thresholds are overlaid due to sounds own
physical properties, emphasising the idea of shifting
ambiances from one zone to another (Coyne 2010:
1801). This reinforces the notion of a city without
definite boundaries, which is experienced rather than
read.
The archetypal city, museum and theatre incorpor-
ate their own transitions and thresholds. In these, the
relationship between listener/participant and place
(Hollerweger, Green and Rebelo 2008), often articulates
the experience of listening through framing a partici-
pants engagement in space and time. Nonetheless, the
history of contemporary music and sonic art feeds
on the breach of any rules that aim towards a static
relationship between listener and context. Such practices
predate and constitute an essential background for
context based sonic art (Labelle 2006).
The notion of context and mediation is essential
when addressing previous studies that posit the
culture of listening between subject and object.
The object (a sound) remains relatively unaffected by
the subject (the listener), the interaction between the
two being normally described according to intention.
The three listening modes proposed by Michel Chion
(1994) reflect methods for decoding sound described
as reduced (Schaeffer 1967), causal and semantic. The
tradition of acoustic ecology criticises the notion of a
disembodied approach, as it disconnects the individual
1
We wish to thank Florian Hollerweger and Matt Green for their
insight and help. Parts of this paper, appear in Rebelo, Green and
Hollerweger 2008. We also wish to acknowledge the contribution
of Fundac a o Cie ncia e Tecnologia (www.fctes.mct.pt) towards Rui
Chaves PhD funding, making this research possible.
Organised Sound 17(3): 216222 & Cambridge University Press, 2012. doi:10.1017/S1355771811000410
from the source of sound what Schafer calls schizo-
phonia (1994: 273). Schafer characterises the sound-
scape as a musical composition in which the listener has
an active part, perhaps to the extent that the listener is
involved in the composition process.
More recently, the work of Suk-Jun Kim presents
an interplay between these different listening modes.
This is described as acousmatic reasoning, where
concepts such as Body, Place, Non-body and Non-
place are essential in understanding the role that
imagination plays in completing and establishing rela-
tionships within different sound sources, in composi-
tional work (Kim 2008). This model has been described
by Kim (2010) as an essential element that might link
the phenomenon of listening in everyday life with pro-
posed frameworks for electroacoustic music:
The making of a listening framework may propose or at
least suggest an answer to the first question: that is,
listeners imagine what is missing in order to complete
the representation. Humans do this daily when faced
with partial perception of events. For example, while
I am writing this sentence in my study, I hear a series of
loud sounds beeps, sharp scratching, thumping and
cranking but I cannot see their source; nonetheless,
I create, out of past experience, a visual image of a
garbage truck just outside my apartment. (2010: 47)
Nonetheless, these ideas do not fully address the
conditions exposed by mobile media or the city, as the
listening framework shifts from a situation based on
intention to one in which the complexity of everyday
life permeates the subjectobject relationship.
As listening practices develop out of music, sonic
art, locative media and other fields, it becomes pertinent
to articulate how recent work engages the listener,
context and media. This article proposes the notion of
evocative listening as a quality of experience present
in installation and performance works that deal with
aspects of the everyday (see section 4). Evocative listen-
ing is framed by spatial context and mediation. Spatial
context is articulated in a typology that defines the
theatre, museum and the city as spatial archetypes that
address thresholds of intention and engagement. These
thresholds have implications for how the listener engages
with the public act of listening and the notion of place.
2. LISTENING IN THE THEATRE, MUSEUM
AND CITY
2.1. The theatre of listening
The archetypal theatre clearly defines the position
of the audience and stage according to the notion of
projection. As those on stage embody the role of
producers, and those in the audience agree to the role
of spectators, the listening contract is articulated as
one enters the theatre. The threshold is suggested
spatially by the doors to the hall and temporally by
the curtain call. This mode of listening is characterised
by the emphasis on communicating an experience that
is notionally equal to all members of the audience, and
therefore treated as an object that can be projected.
This paradigm has been crucial in the development of
sound projection techniques, instrumental forces (from
chamber to orchestral) and architectural acoustics
(Rebelo, Green and Hollerweger 2008).
Nonetheless, John Cages 4
0
33
00
, clearly shifts the
notion of projection away from the stage, questioning
the role of spectators as the sound of social interac-
tion and the environment itself begins to emerge
throughout the piece.
Recent network music practice (Renaud, Carot and
Rebelo 2007) poses interesting questions in terms of
sound projection, embodiment, collaboration and
articulation between different sites. Here, the notion of
projection is extended across theatres and concert
halls, suggesting further articulation of the threshold
between the local and the remote in terms of presence
or telepresence. The contract articulated by the audi-
ence entering a space is questioned by the presence of
remote sites, and perhaps remote audiences. Raising
questions in relation to a shared sense of the event
and space, across geographically displaced performers
and audiences.
2.2. The museum of listening
The Museum shares with the theatre the clear threshold
condition that identifies entrance and engagement. As
one enters through its doors, one agrees to inhabit a
curators world within the safety of the museum walls.
The museum of listening is distinct from the theatre as
the sense of projection is replaced by the labyrinth of
routes that emerge from the overlay of the museums
own architecture, the exhibition layout and ones own
intentions. Unlike the theatre, the museum experience is
likely to be fragmented, articulated not by the event but
by the spatial boundaries that differentiate one collec-
tion or gallery from another. In opposition to the
theatre, the listener in the museum is mobile. He or she
co-defines the spatial and temporal frame: the museum
is a building or area with clear spatial boundaries and
limited opening hours, but the listener decides when to
visit and what to explore within the visit (Rebelo, Green
and Hollerweger 2008).
Bill Fontanas Harmonic Bridge (Fontana 2006)
exposes the nature of those boundaries, by overlapping
sonically a representation of one place into another.
This representation was made of recordings with
accelerometers picking up pedestrians, cyclists and
other atmospheric and climate events that occurred
on the Millennium Bridge in London. Those record-
ings were then converted into a sound installation
in Tate Moderns Turbine Hall. Salome Voegelin
describes this piece as a process of inventing a place
Evocative Listening: Mediated practices in everyday life 217
between both sites, a place made yup of the time of
the motion of the bridge, the time of its recording, the
time of my listening (2010: 146).
2.3. The city of listening
The citys fragmented, dispersed, multiform and
migrational characteristics are advanced by de Cer-
teau as an alternative to the readable and planned
city (de Certeau 1984: 83). To listen in the city is to be
immersed in all that is not anticipated by the city
planner and his or her visual city. The god-like view
of the urbanist provides no help in understanding
what it is to be in a constant complexity of sound and
to be called to articulate a multitude of events. In
contrast to the well-defined threshold of the theatre
and the museum, the city offers no safe boundaries.
The listening contract conveniently articulated by
doorways and curtain calls is here replaced by a
condition of potentially permanent engagement. As
in the museum, the listener is mobile and free to
define his or her temporal and spatial frame, but
there is still an important difference: the boundaries
of the city are not clearly defined. The city typically
accommodates a variety of simultaneous experi-
ences and temporal conditions (Rebelo, Green and
Hollerweger 2008).
3. EVOCATIVE LISTENING
Listening and different spatial archetypes are dis-
cussed not as separate entities, but as part of a
complex matrix that encompasses everyday life, in the
process of signifying personal practices. This inter-
action, in most cases, shifts rules and social context,
creating new situations and revealing new forms of
spatial imagination. These transgressive practices are
also common in the history of sonic arts, and expose
mediation strategies that are criticised, by imposing a
particular distinction between subject and object.
This distinction will not only reflect on new listening
typologies that reflect everyday situations, but also
works of sonic art that put focus on the context of
what one is listening to, foregrounding the notion of
place as multi-layered.
We seek to build the broad history of scientific,
phenomenological and compositional analysis of lis-
tening by suggesting a framework that resonates with
recent contextual-based sound works. This frame-
work primarily addresses the evocative aspects of
listening in the everyday, where the process of sig-
nification is bound to context and identity. This
reflective statement attempts to capture this process:
I am at the airport lounge, sitting near the gate where
the boarding process is going to take place. At this
moment, I transport some of my feelings into what I
perceive about this place. I have just said goodbye to my
girlfriend, and this is the last time I am going to be in
this city with her. I hear the drone of the air conditioning
system with the occasional announcement, and I notice
the weird English accent of a female voice. A young
couple approaches me and the girl says hello to me.
They are very friendly here. They sit by my side and they
start to play word games. It is a weird word game. I
continue to hear the drone. The boarding desk has a
microphone with a switching system. I feel like picking
it up and saying something. Disrupt. (Rui Chaves,
26 January 2010, Nantes Airport)
This short passage addresses past, present and future
through listening in an everyday context. Through
memories and intentions, one is modulating the
sound environment and opening oneself to evocative
listening. This is not only made of an aesthetic frame-
work or ecological awareness in the classical sense;
most importantly, it is made of vocabulary that
incorporates a mediated everyday life into significant
forms of creative individual practice.
Timothy Morton (2007) describes mediation as the
relationship between inside and outside, private and
public, me and other, and background and fore-
ground. This process of contextualising otherness
attempts to reveal the in-between, the ambiance.
According to him this has been a common pursuit for
ambient music, sonic art and other forms of envir-
onmental practice. He describes these medial state-
ments using concepts such as timbral, aeolian, tone
and re-mark (2007: 3747).
All of these concepts come into play when dis-
cussing re-mark a concept based on Derridas work
(Morton 2007: 4750). This idea brings the illusion of
a background collapsing into the foreground. We can
think of background as the distant sounds of some-
one in another room and of Alvin Luciers work I Am
Sitting in a Room (1970), as a prime example of this
shift between both elements.
3.1. Evocative listening and technology
Steven Connor in The Modern Auditory I (1997:
20323) reflects on the influence of new auditory
technologies, such as phonography, in questioning
models that describe experience through visualism.
The sonic prompts the subjective experience where
source and effect are unclear. The phonograph, tele-
phone and radio, which became ubiquitous between
1875 and 1920, accompanied the rise of modern and
postmodern literary, philosophical and psycho-
analytic texts. The advent of the telephone brought
fascination due to its ability y to convey messages
and information as by its faithful preservation of the
individuating tones and accidents of speech and even
the non-verbal sounds of the body (Connor 1997:
205). Descriptions of this form of fascination signalled
218 Rui Chaves and Pedro Rebelo
the disintegration of time and space represented by
transmission through radio and telephone.
According to Labelle (2010: 20342), the necessary
infrastructural development in these technologies as
manifest in the construction of huge communication
towers (e.g. the Berlin TV tower) changed the notion
of spatial urbanism. These electronic macro-structures
signalled the utopic desire for freedom, communica-
tion and togetherness. Their arrival pointed towards
the manifestation of networks and a new spatial
imagination. The invisibility present in radio waves
resonates with the search for other invisible forms of
reading and experiencing the city (Labelle 2010: 213),
thus, for example, resonating with the work of the
Situationist International (Debord et al. 2006) and its
endeavours in psychogeography.
3.2. Mediation, technology and spatial archetypes
Mediation is defined here in terms of sound tech-
nologies that inform our response to sound materials,
namely, playback/recording and transmission. The
superimposition of these spatial and media condi-
tions opens the possibility for sound to affect identity,
while questioning the relationship between object and
subject in the context of artwork that suggests lis-
tening as an active process.
The artworks discussed in this paper reflect sound
as an ideal media with which to explore the rituals
involved in the familiar and unfamiliar settings of
everyday life. In sound lies the potential for elsewhere
and the possibility that even for just a few seconds
a listener is transported into imagined worlds, in a
process made up of memories and moods.
4. WORKS OF EVERYDAY LIFE
The following section reflects on common threads
that indicate an intention to take into account the
listeners identity as a core aspect of the works
experience, reflecting ideas of how listening can
operate as shared, accidental, contextual or remote.
For example, imagine that you are in the subway,
sharing a seat with someone. This person picks up
the phone. You do not intend to listen in to the
conversation, but you notice a particular tone in his
voice it sounds serious. The content of what is being
discussed resonates with your own personal history
and identity. There is an invisible bound created in
that moment, and you try to picture who is on the
other side, remotely causing this reaction.
4.1. Accidental listening
Florian Hollerwegers EaRdverts (Figures 1 and 2)
consists of a subliminal public intervention in which
members of the public are invited to consider their
aural awareness through the annotation of advertising
in a city. Hollerweger annotates posters, billboards and
ads with large coloured arrows that identify the ear as
depicted in contemporary iconography. This work
plays on the ambiguity of thresholds characteristic of
the city and asks the accidental listener to momentarily
engage with the soundscape. The work evokes the
notion of aural awareness through the publics reaction
to the significance of the ear as annotated in a wide
range of visual media. To engage with this work is
to reflect on ones own identity as a listener and to
re-consider the function of the ear in everyday life.
The notion of accidental listening, which Max
Neuhaus Times Square relies on, turns a member of
the public into an evocative listener even for just a
short period of time. In Matt Greens Resounding
Rivers (Movie example 1), this process is explored by
juxtaposing curated aural superimpositions in every-
day space, and the discrete annotation of sites of
acoustic interest in a city. This work invites the public
to engage in an augmented soundscape without
Figure 1. EaRdverts1. Copyright by Florian Hollerweger.
Figure 2. EaRdverts2. Copyright by Florian Hollerweger.
Evocative Listening: Mediated practices in everyday life 219
necessarily requiring their attention. Resounding
Rivers consists of six sonic interventions in locations
around Belfasts city centre chosen for their historical
significance in relationship with the Blackstaff, Farset
and Lagan rivers which once flowed above ground,
through the city. The rivers, two of them now covered
for the most part, provide an evocative trajectory
through the city in which sound plays a role in
evoking the past and its associated soundscapes.
4.2. Contextual listening
Both Resounding Rivers and EaRdverts rely on sub-
liminal additions to the fabric of urban life, with a
view to suggest evocative listening through accidental
encounter. The works invite the city dweller to an
informal engagement with artwork that most mem-
bers are unfamiliar with.
In contrast to the open and suggestive space of the
city lies the art gallery as a space for contextual lis-
tening. Two works by the same artists provide an
example of the exploration of site-specificity and
context which frames the notion of evocative listen-
ing. Both of these works explore the uniqueness of
the PS gallery in Belfast and its character as a former
shop in a Victorian terrace, in the centre of the city.
The gallery is unique in how it interacts with the
outside world, being closer in character to a shop
window than a white-cube gallery. Present Place by
Matt Green consists of an aural, visual, social and
contextual study of the site. The installation itself
presents the visitor with graphic annotations in the
form of a frieze in the gallerys wall, describing events
taking place in the space prior to the public opening.
Visitors are invited to sit on benches facing the
window, which overlooks a busy street, while listen-
ing to a composition based on recordings made on
site. The cinema-like arrangement, with a large visual
frontal frame and surround sound, places the listener
into a context that deliberately blends the liveness
of the moment and the projected sound based on
recordings from the past. The installations configura-
tion and the site itself suggest how the juxtaposition
between live, real-world sound and projected, com-
posed sound can induce the notion of evocative
listening, as the relationship between the audiovisual
and the purely aural are constantly in tension.
24/7 by Florian Hollerweger explores the same
gallery space from the perspective of making time
audible. The visitor is invited to listen to different
moments in the gallerys aural past (1.9 seconds,
3 minutes, 2 hours, 3 days and 7 hours, 1 week from
the present moment; Figure 3). A timeline on the
gallery wall represents these different temporal scales
and places headphones as listening posts. The work
addresses the social sharing of space (with the shorter
delays suggesting playful interplay amongst visitors
as they hear their actions being played back) and
notions of aural history and surveillance. 24/7 turns
the gallery space into a specific context for listening
by converting the ephemeral nature of sound into
discrete historical moments. Visitors are given access
to the aural past while at the same time contributing
to the aural future of the space. The individual
experience provided by headphones is situated in a
shared social space that suggests particular listening
roles, as the acoustic present is augmented by the
various pasts. Both 24/7 and Present Place transform
a gallery space into a context for evocative listening,
through the juxtaposition of the live/real and past
events.
4.3. Shared listening
Rui Chaves Blackheart (Movie example 2) addresses
notions of shared listening by engaging participants
in a group soundwalk. The work is a guided tour for
a group of people participating in a walk through the
hills towards an area that allows for a unique view
over the city. Blackheart focuses on changes in scale
(viewing and hearing the city from a distance), as well
as shifting relationships with a landscape, allowing
participants to explore the physical and psychological
geography of the site, using sound to cross personal
history, myths and narratives. Pre-composed sound
materials are diffused through twelve cassette recorder/
players with built-in speakers worn by the participants.
While each participant primarily experiences the walk
through his or her own listening as informed by the
sound materials played by his or her own device, there
is an inevitable sense of complicity created by the
choreography of the guided tour. The sense of sharing
comes to the fore as a group of participants embark in
the action of listening, in a rather inhospitable envir-
onment. Recorded fragments of interviews and story-
telling evoke the lives and memories of those that
remain out of earshot, in the city.
In Florian Hollerwegers Music for Lovers (2010),
the notion of shared listening is explored through
intimacy, as two participants are invited to share a
device that augments their surrounding soundscape.
The work consists of a portable sound installation
that allows two people to swap ears, through two
pairs of headphones and binaural microphones
connected across the two listeners (Figure 4). As one
listens to the environment through the ears of
another, elements of trust and responsibility frame
the engagement with this work. By agreeing to
participate, listeners exchange control of their own
listening with their partners, which in itself exposes
the relationship between ones body and the listening
experience. Sharing the intimate act of listening
exposes the affective and emotive nature of ones
engagement with a sound environment.
220 Rui Chaves and Pedro Rebelo
4.4. Remote listening
With the increased prominence of network infra-
structure, a number of works have begun to explore
the qualities of remote listening. As the listening space
becomes extended through streaming across various
modalities, the listeners imagination is engaged in
articulating issues of presence and site. Pedro Rebelos
Netrooms (Sound example 1) uses the network to
establish a loop of active listeners who contribute to a
developing feedback circuit consisting of microphones
and loudspeakers around the world. Netrooms is a
participative network piece which invites the public
to contribute to an extended feedback loop and
delay line across the Internet. The work explores the
juxtaposition of multiple spaces as the acoustic, the
social and the personal environment become perman-
ently networked. The performance consists of live
manipulation of multiple real-time streams from dif-
ferent locations, which receive a common sound
source. Netrooms celebrates the private acoustic
environment as defined by the space between one audio
input (microphone) and output (loudspeaker). The
performance of the piece consists of live mixing of a
feedback loop with the signals from each stream. This
work invites participants and listeners to imagine
spaces, other than their own, through subtle clues in
the various sound streams.
wewalktogether (Sound example 2) by Rui Chaves
is a mobile broadcast piece for three performers in
three different cities. Each performer walks and
broadcasts through their city, equipped with a mobile
Figure 3. 24/7 technical diagram. Copyright by Florian Hollerweger.
Evocative Listening: Mediated practices in everyday life 221
device and custom-developed software. This exploration
is the result of a series of notes and timed instructions
sent to the performers, in order to enable each of them
to create a path that explores different soundscapes, but
also situations that are enhanced through on-the-spot
perception of space. The work focuses on exposing the
process of discovery, personal mapping and the idea of
transmission, while enabling the listener to engage with
each broadcast simultaneously.
5. CONCLUSION
The fact that the works discussed here range from the
non-technological (e.g. EaRdverts) to custom-designed
mobile software (e.g. wewalktogether) supports
the premise that, although technology plays a role in
the understanding of listening, it is not necessarily the
predominant element. Rather, the understanding of
how a listener engages with the evocative through
sound presents a richer framework within which to
discuss current work in this field. The ideas developed
in this paper are not intended as a generalised theory of
listening, but rather as local and specific concepts that
will allow us to further develop sonic arts practices with
an understanding of the qualities of listening at its core.
Ultimately, an experiential understanding of listen-
ing in the context of the city, mobile technologies and
the everyday represents not only a useful framework
for creative practice in sonic arts, but also a step
towards developing an awareness of sound that is
intertwined with todays mediated living.
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222 Rui Chaves and Pedro Rebelo