hyenaz7984

  • Like a Salve

    𝓛𝓲𝓴𝓮 𝓪 𝓢𝓪𝓵𝓿𝓮 (𝓕𝓸𝓻 𝓪 𝓦𝓸𝓾𝓷𝓭) directed by Tereza Silon
    – a short film derived from an artistic/performance research, community queer & trans embodied storytelling workshops and exchanges with QTs in the Southern Bohemia region and beyond.

    (…)
    ℑ 𝔥𝔞𝔳𝔢 𝔞 𝔥𝔬𝔩𝔢 𝔦𝔫 𝔪𝔶 𝔠𝔥𝔢𝔰𝔱
    𝔱𝔥𝔯𝔬𝔲𝔤𝔥 𝔴𝔥𝔦𝔠𝔥 𝔶𝔬𝔲 𝔠𝔬𝔪𝔢
    𝔗𝔥𝔯𝔬𝔲𝔤𝔥 𝔴𝔥𝔦𝔠𝔥 𝔶𝔬𝔲 𝔠𝔬𝔪𝔢 𝔱𝔬 𝔪𝔢
    𝔄 𝔥𝔬𝔩𝔢 𝔱𝔥𝔞𝔱 𝔬𝔱𝔥𝔢𝔯𝔰 𝔣𝔬𝔲𝔫𝔡 𝔞𝔫𝔡 𝔩𝔢𝔣𝔱 𝔟𝔢𝔣𝔬𝔯𝔢 𝔶𝔬𝔲
    ℭ𝔯𝔢𝔞𝔱𝔦𝔫𝔤 𝔰𝔭𝔞𝔠𝔢, 𝔫𝔬𝔱 𝔞 𝔳𝔞𝔠𝔲𝔲𝔪.
    𝔄 𝔥𝔬𝔩𝔢 𝔦𝔫 𝔪𝔶 𝔠𝔥𝔢𝔰𝔱 𝔱𝔥𝔞𝔱 𝔯𝔢𝔰𝔭𝔦𝔯𝔢𝔰
    (…)
    𝔓𝔩𝔞𝔫𝔱𝔦𝔫𝔤 𝔞𝔫 𝔦𝔯𝔯𝔦𝔱𝔞𝔱𝔦𝔫𝔤 𝔤𝔯𝔞𝔦𝔫
    𝔬𝔣 𝔰𝔞𝔫𝔡
    ℑ𝔫𝔱𝔬 𝔢𝔞𝔠𝔥 𝔬𝔱𝔥𝔢𝔯´𝔰 𝔡𝔯𝔢𝔞𝔪𝔰, 𝔟𝔦𝔯𝔱𝔥𝔦𝔫𝔤 𝔭𝔢𝔞𝔯𝔩𝔰

    ℑ 𝔞𝔯𝔯𝔦𝔳𝔢 𝔩𝔦𝔨𝔢 𝔞 𝔟𝔬𝔞𝔱 𝔣𝔯𝔬𝔪 𝔞 𝔴𝔞𝔳𝔶 𝔰𝔢𝔞
    𝔓𝔯𝔬𝔲𝔡 𝔞𝔫𝔡 𝔴𝔢𝔱
    𝔗𝔥𝔢 𝔰𝔭𝔦𝔯𝔞𝔩 𝔬𝔣 𝔶𝔬𝔲𝔯 𝔥𝔢𝔞𝔯𝔱
    𝔄𝔫 𝔲𝔫𝔣𝔬𝔩𝔡𝔦𝔫𝔤 𝔯𝔦𝔟𝔟𝔬𝔫

    𝔗𝔯𝔢𝔞𝔱 𝔪𝔢 𝔩𝔦𝔨𝔢 𝔞𝔫 𝔬𝔩𝔡 𝔠𝔩𝔞𝔪 𝔱𝔥𝔞𝔱 𝔥𝔞𝔰 𝔰𝔢𝔢𝔫 𝔤𝔢𝔫𝔢𝔯𝔞𝔱𝔦𝔬𝔫𝔰

    – 𝔚𝔦𝔱𝔥 𝔯𝔢𝔳𝔢𝔯𝔢𝔫𝔠𝔢. 𝔉𝔬𝔯 ℑ 𝔫𝔢𝔢𝔡 𝔱𝔬 𝔣𝔢𝔢𝔩 𝔰𝔬𝔪𝔢𝔱𝔥𝔦𝔫𝔤 𝔫𝔢𝔴.
    (…)

    Dates

    13 November 2025premiere screening – České Budějovice

    Credits

    Concept, DirectionTereza Silon
    CinematographyZaher Jureidini
    EditingVojtěch Kunc
    Sound Design + ScoreHYENAZ
    PerformersElis, Eugene, Geo/Jiří Pavlík, Moiza Abdul, Tereza Silon
    LightsRiyana Lama
    CostumesJustyna Tuchorska

    Production support on set by Iva Jedličková, Czech sign language interpreter on set by Zuzana Heřmanová (Tichý Svět), additional interpreter Tereza Holoubková (Tichý Svět)

    Curator: Alena Kotyza

    Special thanks for location availability: Alšova Jihočeská Galerie/Wortnerův Dům, Čajový Ateliér, Tady Kreativní Hub
    Thank you Mgr. Hynek Látall , Ph.D. for consultations on the Medieval Art collection. Thanks to Anna Davis and Lucie Boušková.
    supported by České Budějovice 2028 and Magic Carpets. 
    Special mention goes to Budqueer.

  • Foreign Bodies RELEASE CELEBRATION

    SPRING PICNIC to celebrate the release of Foreign Bodies
    17 May 2026 / 2PM-5PMTempelhofer Feld

    Follow this link https://comaps.at/04MnITMY6I or paste these coordinates geo:52.4778196,13.4178263 into your maps app to see my location.

    We asked what would feel best for us to celebrate this long journey to create FOREIGN BODIES and we realized that what we most wanted was to sit in the park with all the friends and loved ones who are woven into this long process. We will bring a speaker to share the music, but mostly we hope to hug and laugh and eat together.

    FOREIGN BODIES CREDITS

    This album began in 2015 at a temporary camp for asylum seekers outside Budapest, Hungary and ended in 2024 at the Pro-Palestinian “Occupy Against Occupation” Camp in Berlin, Germany

    Composition, Field RecorDING, Studio Recording, A/V Concept and Editing, PERFORMANCE:

    HYENAZ (Mad Kate and Adrienne Teicher)

    Mixing & Mastering:

    Steve Voidloss at Black Monolith Studios

    Featured Musicians:

    Yusuph Suso (Gambian griot), Bartłomiej Kuźniak (saxophonist), Uday (guitarist from BgB field recording)

    FEATURED SPEAKERS
    TRANSLATORS:

    Eleanora Moramarco
    Federica Dauri
    Mariatereza Natuzzi

    REMIXERS:

    Dorninger (Proximity Remix)
    okpk (Proximity Swarming Remix)
    El Fulminador (Proximity Remix)
    The Shredder (Proximity Remix)
    IXA (Perimeter Transopticon Remix)
    Maya Postepski (Perimeter Fantasy Remix)
    Sky Deep (ExSitu Remix)
    Bad Conscience (Columns Remix)
    Consumer Refund (Columns Remix)
    NVRS (Columns Remix)
    Lady Maru (Columns Remix)

    MOVERS:

    Ambrita Sunshine (Proximate Movements)
    Bishop Black (Proximity, Proximate Movements)
    Danilo Andrés (Proximity, Proximate Movements)
    Federica Dauri (Proximate Movements)
    Jao Moon (Proximate Movements)
    Lori Baldwin (Proximate Movements)
    Martini Cherry Furter (Perimeter)
    Mmakgosi Kgabi (Perimeter)
    ReveRso (live performances)
    ROC (Proximity)
    Simon(e) Jaikiriuma Paetau (Proximity, Proximate Movements, Perimeter)
    Tereza Silon (Proximity, Boundary Creatures)

    FILMMAKERS:

    Jo Pollux (Proximity)
    Raja de Luna (Proximity)
    Rilk Mob (Perimeter)
    Xenia Østergård Ramm and Old Erik at Hackstage Collective (Columns)

    STYLISTS and COSTUMES:

    Juan de Chamié (Perimeter, live)
    Yeorg Kronnagel (Perimeter, live)
    Moran Sanderovich (live)

    INSTALLATION ARTISTS:

    Lau Licciardi (Designer, Builder)
    Rodrigo Frenk (Creative Technologist)

    SPECIAL THANKS:

    Giuseppe Bottalico and his two sons, Ion Dumitrescu, Cosima, Mihaela Cirjan, Graham Ball at Orchestral Tools, Nora Ugron, Lilly Pfalzer, Va-Bene Elikem Fiatsi, Jova Lynne, Isabelle Lewis, Sharon and Micha at KUBA, AntkeAntek Engel, Sasha Marianna Salzmann, Donato Laborante, Michele Melchionda, Franx Ciava, Barbara Maraio, Lea Connert and team at Kampnagel, Dana Tucker, Maria Teresa Natuzzi, Annibale Sepe, Nadia Says at Your Mom’s Agency, attendees of the Anarcho-Feminist & Anti-Military Conference, activists at Besetzung gegen Besatzung, Wayne Atkinson (Yorta Yorta elder, historian), PEACHES, Ellison Glenn, Hanna Schaich, Yony Leyser, Interim Magazine, Rainer Scheerer at SPRINGSTOFF, Emerencz at Obskur Music, Nick Cullen, Thomas Chambon, Laura Hester, Graphijane, and our families

    LOCATIONS and COMMUNITIES
    • Samothraki Sounds
    • KUBA
    • Yorta Yorta Community
    • RKK & Grand-Synthe Camp, Dunkirk
    • Barmah Lakes
    • Apricena, Italy
    • Giardino Diversensibile, Ariano Irpino, Italy
    • Alta Mura, Italy
    • Ferrula Ferrita
    • Sid, Croatia
    • Budapest, Hungary Keleti Station
    • Yorta Yorta Land
    • Rome, Italy
    • RKK Kitchen Dunkirk France
    • pilgrimage town of Częstochowa, Poland.
    • Armenia
    • Tblisi
    • Buchow
    • Train in Czech / Budapest
    • trains and buses
    • Harz Mountains

  • FOREIGN BODIES A/V

    FOREIGN BODIES A/V is an immersive somatic rave that maps how movement reshapes who we are—and how power dictates who is allowed to move.


    HYENAZ present their most expansive project to date, Foreign Bodies: 21 tracks composed over ten years from field recordings gathered across migrant camps, transit zones, communes, and artist colonies — research conducted by foot, bicycle, train, and hitchhiked ride. From these sonic fragments, the duo composed an epic sonic journey that moves between dance tracks and ambient works, the two forms acting as different states of the same architecture. Woven through both: thinkers, academics, artists, and writers, among them the haunting vocals of Gambian musician Yusuph Suso and the voices of Sivan Ben Yishai, Erin Manning, and Thomas F. DeFrantz, integrated as texture, rhythm, and argument.

    The music is presented with live vocals alongside their impressive body of audio-visual works — choreographed, directed, and edited by HYENAZ in collaboration with dancers and performers across multiple continents, including Bishop Black, Tereza Silon, Simon(e) Jaikiriuma Paetau, Danilo Andres, Mmakgosi Kgabi among others. On stage, this becomes a continuous visual score projected at scale: two artists, their recorded and live voices, and the full weight of a decade of image and sound.

    Foreign Bodies traces what happens to a body in relation, in resistance, and under the force of control: Bodies in migration and under management; bodies crossing borders imposed by others and negotiating limits they set for themselves; bodies in flux, in synchronicity, in refusal. The work began as a response to paranoid politics around migration in Europe, Australia, and the United States, and expanded into something wider: how humans construct the Otherness of fellow beings — human, animal, plant, mineral — and how that construction binds or unbinds the self from full experience of the world.

  • Chronoshift

    Buy:Bandcamp
    Stream:Spotify · YouTube Music · Tidal · Deezer

    In this stone you are bound, in time you are bound
    Break! a stone in two–
    lick its insides.
    This is the way to taste time
    Take a ruin, let it breathe,
    cut the weeds from hazelnut trees
    There is nothing new or old,
    only order and disorder.
    There is nothing new or old
    A stone shatters, eternity breaks.
    Geologic Sonification
    Tectonic Migration.
    Ex Nation Formation.
    Trans Stone
    As stone moves we move
    We could stop and rest here
    forever
    and yet we move

    Contextual Mapping

    WHERE ARE WE?

    What we did find was something we were not looking for. We found something that could be considered the opposite of migration—we found stone. Everywhere, stone. We found and felt the geological magic of the the murgia—The Altopiano delle Murge—a karst topographic plateau. Ancient rocks have pushed up from under the sea, joining a once island sliver of land to the rest of the mainland. And yet in this land there is a movement, there is In Puglia we learn about Transhumance, which is the seasonal movement of people with their livestock between fixed summer and winter pastures. In montane regions (vertical transhumance), it implies movement between higher pastures in summer and lower valleys in winter … horizontal transhumance is more susceptible to being disrupted by climatic, economic or political change. (wikipedia)

    In this land there is a road of pilgrimage, an ancient road of migration from the Rome to Jerusalem where travelers would traverse, stopping every 40 kilometers or so at another resnting point, “estacion del poste”.

    These songs and sounds found in stone–suoni pietra–colors our entire journey and we carry it through.

    It began when we arrived the first night at Giardina Diversensible in Ariana Urpina. There we discovered the magical sound and sensation garden built throughout the land, integrated into the hillsides. It came naturally to take our sound equipment and begin to play the instruments set throughout the land.

    From the murgia in Puglia to the erupting Etna mountain above Catania; from the marble quarry in Apricena to the natural caves and eco-instruments in Ariana Urpina; from the powder released from a broken stone that the artist Vito Maiullari cracked and had us taste with our tongues (“this is the way to Touch Time” he said); to the stone streets paving every city. The stone is that which cannot move but manages to. It moves with horrific lethargy, terrifying slow-motion drama. Moves despite everything. And as Vito showed us—produces sound despite its density. We broke stones in two, and the two halves formed the half of eternity, and they formed the magic of time, of all time, tasting time. We began throughout all time bound, bound in stone and bound in the geology of the earth. And yet despite this, we MOVE. We must MOVE.

    Yes this time our theme was something else, something that perhaps I did not intend, that I could not have embarked upon with intention.

    It was Maria Teresa who may have first uttered the word recuperare when speaking about the vision of Ferula Ferita, the arts organization in the Old Station on the Antique Road. Recuperare recover, recuperate, regain. In relation to architecture, it means to take ruins, old run down spaces, unoccupied buildings, and make them functional again, even if just for a temporary amount of time. In relation to things it means to find old furniture, discarded bits of trash, and to refurbish them. In the way of land it means to pull away the weeds from nut trees and give them the chance to breathe again. It means both to scavenge and to reuse. It resists consumerism, resists the tendency to discard and build or buy anew. It resists the idea of supporting an economy where jobs are generated in order to make new things and we toil at making new things to buy new things to make new things.

    Listen to the unedited recording of our conversation here and read more from Maria Teresa’s blog: https://incontrinmareaperto.wordpress.com/

  • Both Inside & Outside


    Both Inside & Outside

    i

    It's weird though because it's not all the time, right?
    It comes and goes. It's like
    it comes in waves
    that sometimes I feel like maybe
    I'm on the perimeter of happiness and satisfaction
    Am I satisfied?
    I don't know
    Am I joyous?
    It's like
    I feel like I'm existing but I'm not
    Am I in there? Like
    really joyous?
    I don't know

    Sunflower fields
    forests
    soil
    like the smell of rain on soil
    on earth
    When it rains, you hear the rain on the roof

    I would imagine exhaling
    releasing

    having no tension

    Mmakgosi Kgabi

    ii
    Can I ask you a question?
    Yes.
    Is there ever a time
    that you feel both
    inside and outside
    a place where you feel both
    held and not held?
    I feel both held and not held
    by the queer
    community

    I made a decision
    ten years ago
    to live as a trans person

    but I feel
    the fact that I
    don't take hormones makes me
    insufficient
    I am hearing you say:

    the fact
    that you don't take hormones
    makes you feel
    insufficient.
    Yes

    And also that there is a history
    of millennia and millennia
    of men oppressing
    and enslaving women

    and this
    adheres
    to my body
    Roi Fischer
    &
    Adrienne Teicher

    (HYENAZ)

    For a private link to the full album FOREIGN BODIES, please write to us here.

  • Techniques for Auditory Resistance

    Are you a musician who wants to deepen their practice in somatics? An activist who wants to explore field recording and the politics of sound? A performer, filmmaker, or artist who wants to create soundscapes for their works?

    HYENAZ Techniques for Auditory Resistance is not only a workshop in sound design, electronic music production, and field recording, it is an invitation to create works of soundart shaped by the life-worlds of those who gather.

    More Details

    For HYENAZ, sounds are also bodies: interconnected, multiple, animate. Neither mine nor yours, we encounter sound within a field of power. Through the embodied and unceasing practice of encountering sound as alive, HYENAZ have gathered countless techniques for un-thinking mastery over sound. This is an invitation to share these techniques with you and to invite you to considering the animacies of sound as you work with it as both material and agency.

    With HYENAZ you will learn techniques to record the soundscapes and objects of the urban and natural environment, tactics for un/doing the extractive tendencies of artistic practices, methodologies for archiving and text writing, skills to mix and transform these sounds with an attitude of play using a DAW such as Bitwig or Ableton, and finally the confidence to give these works heft through experimental writing and movement exercises.

    UPCOMING Dates

    Summer 2026TO BE ANNOUNCED

    PAST WORKSHOPS

    17 January-4 February 2026 (4 weeks)Orchestral Tools, Berlin, Germany
    9 May 2025Placek Festival, Brno, Czechia
    30 June 2022Kampnagel, Hamburg
    16-20 July 2018CLASTIC – European Performing Arts Residency, Valchiusella, Italy
    13-15 October 2017betOnest, Stolpe, Germany
    1-7 July 2017Armenia
    19-21 July 2015Kyiv, Ukraine

    Credits

    Pedagogical ConceptHYENAZ

  • Workshop Enrolment Form

    Thank you for taking part in the workshop. In order to confirm your place, please fill in the following form and transfer the workshop fee of 250€ (200€ earlybird before December 23) to the following account:

    IBAN: DE46 1009 0000 3057 5040 04
    Bank Name: Berliner Volksbank
    Account Name: Benjamin Teicher
    Description: HYENAZ Sound Design

    We have a limited number of discounted soli-places available for those without the means to pay the full workshop fee. Please write to us if this applies to you.

    • Foreign Bodies Private Listening Party

      📅 18 September, 2025 FROM 19:00-22:00 CET
      🧭 Orchestral Tools, Pfuelstraße 5, 10997 Berlin Map
      Private Event / RSVP

      In 2015, we began our slow movement project Foreign Bodies. Ten years later, we are finally giving birth to this work, and are so eager and happy to share it with you. On September 18, we invite you to a private listening party and artist talk at the offices of Orchestral Tools on the River Spree.

      Bodies: near and distant. Bodies which have been determined “grievable”–bodies which are not. Devouring Bodies: extracting and extracted from in measures of time, energy, value, blood, piss, shit, cum. Having a body vs. Being a body and existing somewhere in between. Hearable bodies, bodies that signal that they must be heard, and bodies we choose to ignore. Glacial bodies and frenzied bodies.

      Across 21 works, constructed from field recordings gathered in transit points, intentional communities, migrant camps, ancient traveler’s outposts and along pilgrimage paths, we have created sonic reactions to bodies in motion, in resistance, in synchronicity. We are also accompanied by the voices of Thomas F. DeFrantz, Sivan Ben Yishai, Erin Manning, Sylbee Kim, among many other writers, choreographers and activists who contribute their reflections with us.

      During our journeys, we began to think about these questions of relationality, while simultaneously considering our own bodies in the act of recording itself: what is it to “unthink mastery”; how we relate to the animacy of sound; how we build equitable collaborations with human and non-human actors; how do we resist cultures of extraction, and what kinds of methods allow us to weave music from one sound fabric?

      And where do you locate yourself, or where is your body located? (And by whom?) Can you move, and would you? Is your body packed in permissions and papers or is it so bare that your skin chafes on edges and borders? Is your body light enough to float above surfaces, or does it sink to ocean floors? And why is it that my body and your body are allocated different shares of the wealth of the earth? Who or what does it serve to carve up bodies so?

      These are the questions that animate the Foreign Bodies. We will explore them with you as we share the music. We hope you can make it.

      RSVP

      • Grievability

        Buy:Bandcamp
        Stream:not yet available

        We wrote our track “Grievability” as Israel accelerated its genocide on Gaza. Though some amassed on the streets, or encamped in the cold, the numbers were too small, the police too violent and cruel. There wasn’t a sense that art could do anything. That we could scream and shout as much as we liked, and it wouldn’t change a damned thing.

        So we used the track to remind ourselves not to let the sense of powerlessness give way to nihilism, nor allow the flood of mediated violence create minds that skip from crisis to crisis, each round that follows somehow erasing or eclipsing that which came before it; oversupply reducing the cost of murder to zero, at least to the perpetrators.

        How? How can I move on? No-one move on.

        bow down
        get down on the ground
        no–no–no–no targets left
        shell of nihilism
        protects me from falling apart


        although I cannot see it, it exists
        although I cannot touch it, it exists
        although I cannot hear it, it exists
        although I cannot feel it, it effects me,
        it effects you
        it effects me in a way that I barely perceive

        and when i break, i break down and
        cannot taste the food in my mouth
        cannot sleep
        cannot bare the images
        behind my eyes

        sleepless minds are an act of resistance
        to the institutional demand to forget
        they were there
        their lives were there.


        human screams drowned out by the facts
        and is the attempt to do something
        just another human being doing nothing? / just another human doing not being?


        although I cannot feel it it effects me as a change
        I don’t register it as a change, but it changes me
        and the lack of the other
        it lives in me the lack

        and the silence of the lack it lives in me
        and the silence of my inability to mourn

        –its so subtle
        that the silence of the lack, it lives in me
        its sewn in me
        i don’t recognize it as not me


        i don’t register it as a change
        but it changes me
        and i’m already changed.


        and although I cannot feel it, it exists
        and although i cannot feel it, it effects me


        Failure to mourn its built into the system
        so turn the page
        swipe left
        swipe right
        go to sleep
        dream uneasily
        wake up and it all starts again


        how can i move on
        no-one move on
        how can i move on
        no-one move on.
        how can i move on
        no-one, no-one move on.

        who or what counts for life
        i can grieve? can grieve
        who or what counts for life
        i can grieve?

        “One way of posing the question of who “we” are in these times of war is by asking whose lives are considered valuable, whose lives are mourned, and whose lives are considered ungrievable. We might think of war as dividing populations into those who are grievable and those who are not. An ungrievable life is one that cannot be mourned because it has never lived, that is, it has never counted as a life at all. We can see the division of the globe into grievable and ungrievable lives from the perspective of those who wage war in order to defend the lives of certain communities, and to defend them against the lives of others—even if it means taking those latter lives.”—Judith Butler, Frames of War: When Is Life Grievable?

      • Compendium of Tactics

        Accountability Practices in Sound Design and Field Recording

        *a very useful phrase coined by Sadie Lune

        • Introduce yourself, your project, your idea, your goals
        • Talk openly about the hierarchies which may be already present
        • Map the context of the recording (people, place, time, sociopolitical context)
        • Make works which are context specific, and don’t arbitrarily mix contexts
        • Name contributors and spell their names correctly
        • Don’t record undercover
        • You have asked others to share–be likewise ready to share back
        • Send collaborators their media
        • Respect requests about how media is used
        • Speak openly about funding and payment
        • Develop processes of accountability to collaborators after the initial recording time is over
        • Continue to notify collaborators about the journey and life of a project; how and where it is shown
        • Make clear distinctions and have open conversations about whether a person is a collaborator, contributor, or employee.
        • Come to a consensus about how a person would like to be attributed
        • Offer payment or trade for the giving of content (i.e. sound or image)
        • Consider other forms of repayment, collaboration, long term support
        • Develop a clear and consistent strategy and system for remembering and documenting
        • Be mindful of the tools used in the process of the project and the makers of those tools
        • Attribute the people who contributed to the tools that you utilize in your work
        • Research the sources of the tools that are used
        • Research the sources of the props and other materials used in a collaboration
        • Have conversations about what a collaboration consists of and what are the expectations
        • Keep up with relationships over time: accountability and interconnectivity
        • practice “Radical collaborative” and “correlational narratives” (Katherine Mc Kittrick ed.) Sylvia Winter: On Being Human as Praxis
        • Release open source works
        • Treat collaboration as skill sharing, so that others go away enriched with certain skills
        • Treat each person, object and place as “irreplaceable”
        • Don’t mix contexts
        • Digital media has multiplied possibilities of sound manipulation to the nth degree. Lets say we are creating an audio visual work
        • Treate everyone with whom you interact the way youd want to be treated by a stranger.
        • Sure—maybe a friend comes into your house and takes a few snapshots and you dont worry about it too much. Its casual and you think youl be in touch forever. This may or may not be true – and is worth actually considering. But that aside, consider a stranger comes into your home and takes puctures of you, takes a reocridng of you talking. Lets say yo uare out front of your house playing with your kids and a stranger asks to take photos and video of you to find out about how you live. What would you like from them? What would you like to know about where that work travels?
        • Its easy enough to think — oh I do this all the time – I put photos of myself in the internet and willingly share them as “digital artworks” on a daily basis. But someoone is making a profit on thoes photographs—its just htat hteh somone is not you.
        • Imagine an artist comes in, takes images ofyou, makes art out of you, and gains money for their work. Or maybe they dont make money for their work, but rather something much more illusive—fame, cultural capital.
        • Its fundamentally flawed idea that some people aught to be the objevt of study while others are not. Often the object of study are those “underrepresented voices” +
        • consider whether or not you would allow someone to ,make an object out of you.Woudl you potentially be okay with this ? What would make you okay? If you wouldnt be okay– why not? Why are why arent these things important when approaching others and what fundamnetal assumptions might lie behind those decisions?
        • Name contributors
        • This may seem obvious and easier than it actually is. In the course of a work day of recording and working in community, its remarkably easy to miss someone from whom you’ve taken a recording, especially when they might play a minor role in your interaction or you havent had much time to talk to someone. Have a system in place ahead of time so that when you’re working with people and things are moving rapidly, you dont take notes on a bunch of tiny pieces of paper that are easily lost, or place names in five different platforms inside of your phone that you later struggle to piece together. Taking two minutes now will save hours later.
        • The system should look something like this:
        • Date and approximate time – Full name with correct spelling (dont guess!) – place – email – social media – notes (key words to help you remember who this specific person was. No digital contact? Take a phone number and house number.
        • Create a simple spreadsheet or note taking app located on your phone so that you can write each persons full name—be sure to get the spelling right and spend the time to get it in the first place. Get email contacts at the same time as their full name. You never know if later a persons voice might become central to a work of art, but if you cant contact them, or dont know their name, it will be impossible to tell them about it later and this will live on as a disembodied aspect of the work. Moreover, you wont be able to get real permission for the work.
        • Once working with some people in Italy I had merely jotted down the name “guisseppe” on one sheet of paper in a notebook. I had the dedicated notebook, but inside the notebook I didnt have a clear system for taking contacts. It took me ages to locate him again by sleuthing through friends offriends on facebook. It doesnt have to be that hard.
        • Be Clear about what youre doing
        • Before you turn on your camera or your sound recorder, have a clear description of your project ready. Dont wait to be introduced. Youre the one doing the recoridng, in a sense, youve arrived armed (some people even feel attacked by the sight of camera and microphones, as some even look like weapons). Introduce yourself and explain your project. Who are you and what are you doing? It is okay to record? Even if youre not recording voices of people—maybe just taking in atmospheres, address your project to others ahead of being asked. State what you are doing and why. Speak about the possibilities of how recordings might be used.
        • dont record undercover (big headphones and exposed recorder when recording general atmoshpehere)
        • Some research and journalism has to be done undercover in order to expose structures of violence. Thats not what we are addressing here. Here we are addressing collaborative and accountable field recording that resists extractivism. Be visible. Have your equipment out—whether thats big headphones or microphones, dont be undercover or half undercover. Let people know when ouy are beginning to record.
        • send people their photos and their recordings, let them use material. Dont Own it or possess it
        • respect consent
        • If youve recorded someones class-send the teacher the recording so that he or she can pass it to their students and encourage them to do so. If youve made an interview with someone—send them the material right away. Even if you never use the interview, never publish it, and never use even a section of it, give them the chance to hear themselves in interview. It will help to establish you already as a collaborator rather than someone who comes in and leaves.
        • Dont make assumptions about what a person desires or needs in return from you. Racist and classist attiftudes can easily enter dynamics, where the person taking the recording makes assumptions about what the person needs or desires. Perhaps you believe that someone doesnt need a copy of their interview or wouldnt want it. Perhaps the person is elderly and you belive that they will enver download their interview. It doesnt matter. Treat everyone with the same respect, regardless of who they are. Chances are, they will figure out a way to access the materials you have given them—if not right away, at some point. Either way, youve fulfilled your end of the bargain. People also change in terms of what their needs are, and dont always undersand in the moment what they might desire down the road. Do your best to remain open to the acceessing of the matieral.
        • Who pays us? Whether it is a job—payment for art or funding—also payment for art, from where do our funds come? What are our limits and boundaries? Does it have to do with a performative limit (ie, I dont want my face shown but Ill accept the money) or does it have to do with a strict ethical boundary?
        • How do we form and keep relationship with people in our projects and attribute them?
        • What is the difference between a collaborator and an employee of an artistic project? How are they attributed differently? How can they be lifted up ?
        • Payment – Cash
        • If you are making an interview with someone that is set, scehduled and recorded, figure out a way to offer payment. I dont believe this means that you have to pay every single person whose voice might make it into youre recorder, but have a clear system for how you decide what is just incidental and what is clearly planned out.
        • Have this set up ahead of time, so that these decisions are not made arbitrarily. As well as the system of amount, whether wage or compensatoin, should be set, not dependent upon a person or their context. I have a 10 euro minimum for 40 minutes, based around the idea that 15euros / hour is a living wage. Sometimes we have the idea that paying someone so little is “insulting,” but I belive that the reality is htat most people can use the money and appreciate a token for their time. It pays for transportationg and maybe a mael. In some contexts, 10 euros is a lot of money.
        • Many people will insist not to get paid – insist back – that this is part of the project. Insist until the point htat to insist more would be culturaly inappropriate, and only in this case give up and decide if there is another way that you can offer compensation.
        • When traveling outsife of the EU, I didnt make a differentiation about what a living wage would be or should be, I simply offered the same amount converted into the local currency. For my collaborators, it was a decent amount of money. Giving an interview is time and energy and deserves being paid. Especially as my interviews were about labour, it seemed to makes sense to ttak about wage. In some contexts or in some proejcts, its ossible that monetary wage doesnt feel right or make sense. But what are some other ways to repay collaborators?
        • Inform Collaborators ahead of time what youre offering
        • Tell your collaborators if you are offering compensation, what you are offering, why you are offering. Also tell them about what kinds of other things you will do:
        • 1. send them any recordings or photos that are made
        • 2. ask them their permission for which sections are used
        • 3. tell them about the usage of the work
        • 4. inform them about the jounrey of the project – where is it being shown ? When ? Is it still okay?
        • Keep Getting Consent
        • consetn doesnt just happen on day one. A work of art makes a journey and its ethical to continueously gain consent.
        • At first it might seem scary – what if someone sudenly decides to pull out of a porject? What if they want their voice or their image replaced? Consider that if a person who really doesnt want to be represented is the lynchpin of a project– its probably not mean to be. Imagein the hurt feeligns and negative emotions that will surround your artwork if you contine to present a figure who doesnt want ot be respresented. If they are not the lynchpin, it could be painful at first to remove them, but eventually its for the best.
        • Consider as well that the life of a project is a real journey that lives on, takes on its own life, and meanwhile the persons involved have aged, changed, grown. So have you. The art you created four years ago may no longer represent you, or may temporarily not fit. It may feel—for years, even, completely unrelevenat to your expreicne. You may not want to touch it. Take it out twenty years later and it might feel great, or it might feel outdated. The important thing is to stay in touch with the living body of your artwork and the living people attached to the artwork. If you are important enough to consider when thinking about the life of a work, the people that you are working with are also important enough to cnsider– where are they? What are they doing?
        • Early on in my carreer as an artist, some of the earliest interviews Ive bever done—there was no internet available or smartphones. At the time I releied on this, and the idea of snail mail, to be lazy in my work. But even when folks dont have access to internet
        • Wage or Trade is not supplement for ethics
        • Just because youve paid someone or offered some kind of compensation doesnt mena that youve bought them out of the other things you can or should offer.
        • Other forms of repayment, collaboration, long term support
        • Attribution
        • Naming
        • Giving up power to determine use of the work
        • Contextualizing the moment of extraction
        • Careful mapping of the process (people, place, sociopolitical context)
        • Remembering, documenting
        • Keeping collaborators and subjects connected to the life of the project and throughout the life of the project
        • Being careful about the tools used in the process of the project
        • Using open source materials
        • Understanding and knowing the source of the tools used
        • Understanding and knowing the source of the clothing and props worn on and off “stage” in the life of an artistic project
        • Figuring out how to make collaborations authentic
        • Providing copies of recordings that can be used as the person would like, with attribution
        • Keeping up with relationships over time: accountability and interconnectivity
        • “Radical collaborative” and “correlational narratives” (Katherine Mc Kittrick ed.) Sylvia Winter: On Being Human as Praxis
        • Releasing open source works
        • Collaboration as skill sharing, so that others go away enriched with certain skills
        • Treating each person, object and place as “irreplaceable”
        • Don’t mix contexts
        • Name contributors
        • Don’t record undercover
        • Send collaborators their media
        • Respect consent
        • Explore: Who pays us? Whether it is a job—payment for art or funding—also payment for art, from where do our funds come? What are our limits and boundaries? Does it have to do with a performative limit (ie, I don’t want my face shown but Ill accept the money) or does it have to do with a strict ethical boundary?
        • How do we form and keep relationship with people in our projects and attribute them?
        • What is the difference between a collaborator and an employee of an artistic project? How are they attributed differently? How can they be lifted up ?
        • Payment – Cash
        • Other forms of repayment, collaboration, long term support
        • Attribution
        • Naming
        • Giving up power to determine use of the work
        • Contextualizing the moment of extraction
        • Careful mapping of the process (people, place, sociopolitical context)
        • Remembering, documenting
        • Keeping collaborators and subjects connected to the life of the project and throughout the life of the project
        • Being careful about the tools used in the process of the project
        • Using open source materials
        • Understanding and knowing the source of the tools used
        • Understanding and knowing the source of the clothing and props worn on and off “stage” in the life of an artistic project
        • Figuring out how to make collaborations authentic
        • Keeping up with relationships over time: accountability and interconnectivity
        • “Radical collaborative” and “correlational narratives” (Katherine Mc Kittrick ed.) Sylvia Winter: On Being Human as Praxis
        • Releasing open source works
        • Collaboration as skill sharing, so that others go away enriched with certain skills
        • Treating each person, object and place as “irreplaceable”