Abstract
This paper presents an experimental methodology developed by the collective Laura: Place for Research on Aurality for approaching listening as a shared experience. As a motif for the application of this methodology, we take the work Mar Paradoxo (Raquel Stolf, 2016) as a proposition for experiencing multiple modes of listening. To contextualize our understanding of Stolf’s work, we refer to the concept of otography as a way of approaching the listening experience as something that makes and is made out of traces. By means of the production, sharing, and analysis of listening reports, we outline different modes through which our listening navigates. These modes help us understand listening as an experience that is multi-mediated and relational, singular and situated. In the end, we emphasize the presence of the other in the listening subject, resonating the thesis that the listening activity is driven by a desire of making one’s listening listened.
Highlights
This paper presents an experimental methodology developed by the collective Laura: Place for Research on Aurality for approaching listening as a shared experience
In the first one, which stems from one of the member’s master’s dissertation (GERMANO, 2020), we investigate the aforementioned questions starting from an incursion into the work Mar Paradoxo, by Brazilian sound artist Raquel Stolf
We argue that the recordings included in Mar Paradoxo result from a specific listening intention: a selective listening that filters particular layers of these sounds in order to avoid “soundmarks” and “silences with defined significations”, “passing through a floating listening, a porous listening or one that is assonant with its surroundings” (STOLF, 2011, p. 244, author’s translation)
Summary
Raquel Stolf is a Brazilian artist whose recent production, both artistic and academic, investigates “relationships between concepts of silence, writing processes and listening situations in the construction of sonic propositions and publications and their unfoldings.” (NENDU, 2021). Stolf has written and published several articles about the relationships between silence, listening, writing, and drawing (cf STOLF, 2015; 2016b; 2018; 2019) Her artistic production has been presented in more than 20 individual exhibitions. Her sound art frequently assumes the form of textual propositions, installations, or publications containing CDs. Mar Paradoxo [Paradox Sea] (2016) is the fourth of Stolf’s publications to be released with an audio CD, having been preceded by Lista de Coisas Brancas (2001), FORA [DO AR] (2004) and Assonâncias de Silêncios [coleção] (2010). The release follows up with Stolf’s project of “recording, proposing, writing-drawing, listening and collecting silences” (STOLF, 2016a), in which the artist has been involved since 2007 and that includes her previous publication Assonâncias de Silêncios [coleção]. In the two following sections, we will argue that the recordings and part of the visual material contained in Mar Paradoxo can be interpreted as two different instances of the same operation: the making of otographies
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