Listening and Mediation

Abstract

This article approaches listening practices and the role of technological mediation within ecological sound art, building on findings through the artistic research practices of the two authors. Through documentation of the authors’ ecological sound art practices of aeolian guitar performance, curation, composition, performance on found objects and field recording, we argue that phenomenological variation is inherent to the use of technology across all these forms of performative responsivity, as well as in the analytical forms of listening enacted through stimulated recall and micro-phenomenology. By unpacking the agencies at play in ecological sound art, we discuss how these artistic practices afford “unexpected ways” (Arteaga, 2017, p. 25) to knowledge. The article thus attempts to provide insight into human and non-human agencies at play in phenomenological approaches to ecological sound art and technological mediation, activated through listening.