Abstract
Abstract Attuned to sonic, aesthetic, and sensory modes of experience, and directed particularly to explore the implications of sound as it informs political thought and actions, in 2021, I began investigating Jerusalem’s soundscape. Following Jean-Luc Nancy’s argument that our perception is impacted by the subjectivity of listening, I invited a group of Palestinian and Israeli artists to work with me on this project, hoping to capture the multiple soundscapes this city offers to its residents, visitors, and passers-by. In this essay, I examine two of the group's projects: “Listening Walks in Jerusalem,” an online sonic archive open for anyone to listen to and download; and “Scores for Social Acoustics in Jerusalem,” an anthology of suggested listening paths in the city. I suggest that these artistic acts succeeded in capturing a range of sonic experiences of Jerusalem and may even have gone beyond Nancy’s words to provide tangible methods for listening to a sound event and hearing it (almost) the same.
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