Resound Kefalonia
A Case Study of “The Surviving Aural Spaces”
Nøgleord:
contemporary art, sound art, practice-based research, surviving aural spaces, sonic spaces (espaces sonores), aural spatial awareness, field recording, sonar-body (corps-sonar), listening, meditation, sonic fossil (fossile sonore), unheard (in-ouïe), sonic residues (résidues sonores)Resumé
This paper examines emerging artistic experiments led by Resound Kefalonia (2018), a Sound and Space Research group operating on the island of Kefalonia, Greece, as a case study of the region’s surviving aural spaces. Initiated by artist-researcher Sandra Volny, Sound and Space Research uses in situ sensorial experimentation as the main tool to expose “The Surviving Aural Spaces,” a key concept of Volny’s research. Hidden in the background noise and spatial echoes, the surviving takes shape in sonic traces, sonic residues, and sonic fossils. Persistent while intangible, resisting their own disappearance, surviving aural spaces appear in the tenuousness of our environment and our memories. The paper reflects on the response of the team to the island’s sonic territory, as well as a site-specific workshop led by invited sound artist Jacob Kirkegaard. Topics and questions raised by these experiments inspire innovative models of contextual, collective, and interdisciplinary collaborations. In the clash of our remembering, it is necessary to stretch the ear in order to become conscious of our aural universe. Resound Kefalonia reiterates the importance of auditory awareness in paying attention to our surroundings, and listening to the history and the stories of the unheard.
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