Dates
| 30 June 2022 | Kampnagel, Hamburg |
| 16-20 July 2018 | CLASTIC – European Performing Arts Residency, Valchiusella, Italy |
| 13-15 October 2017 | betOnest, Stolpe, Germany |
| 1-7 July 2017 | Armenia |
| 19-21 July 2015 | Kyiv, Ukraine |
“Techniques for Auditory Resistance” is a workshop and installation in sound design and field recording, facilitated by the sound artists HYENAZ. The workshop invites participants to create sound artworks that interact with natural or urban spaces.
The methodology draws upon what is at hand: bodies, stories, and materials found in the immediate environment. With the accessibility of recording devices—particularly smartphones—HYENAZ posits that anyone who records a story in a plaza, a song on a riverbank, or the sound of a frog or discarded trash blowing in the wind becomes a sound artist.
A central question motivating the workshop is: What forms of community emerge when people listen collectively and collaborate on artworks responding to public space? HYENAZ frames sound as analogous to bodies: not as isolated territories divided by a physical boundary between “mine” and “yours,” but as interconnected, multiple, and potentially exchangeable entities. The artists propose that these interconnections can be actualized through the application of technology to the sonic gifts of the living world and its architecture.
“Techniques for Auditory Resistance” aims to empower individuals exploring sound as a tool for solidarity, distributing lived experience through auditory means. The workshop investigates how spoken word and lived environments serve as renewable resources for sound artists navigating the urgencies of 21st-century life.
HYENAZ describes sound as animate—taking on a life of its own—and produced by entities (wind, flowers, metal, bees, humans) occupying varied positions on the spectrum of “liveliness.” The artists emphasize the inclusion of non-human entities in sonic encounters while actively problematizing these interactions. A key question posed when “taking sound” is: How do human and non-human entities signal consent to participate in the artwork?
While no definitive answers are provided, HYENAZ suggests such inquiries hold creative potential for reimagining consent and extraction in artistic practice.
Curriculum
- Continuous critical-theoretical discussions on the concept of sound and its potential to support forms of human agency and intersectional political movements.
- Writing exercises to develop texts that can be integrated into sound artworks and/or compositions.
- Education in the theory and practice of field recording using what is present in the environment, such as the body, everyday objects, and improvised instruments.
- Sound excursions that utilize the affordances of public spaces to capture the sonic gifts of the living world and its architecture.
- Workflow and sound archive management.
- Software tools that allow for the manipulation of sounds received from the field into forms of abstract instrumentation and altered soundscapes.
- The development of compositions for presentation as interactive “audio walks” created using the “Sonic Maps” system. Sonic Maps and similar free apps utilize geolocation technology to create audio tours in public spaces. In the audio walk we create together, participants will be able to move through public spaces and hear sonic artworks in specific locations using their own smartphones.
Credits
| Pedagogical Concept | HYENAZ |
