c. 1300, "agree, give assent" from Old French consentir "comply" (12c.) and directly from Latin consentire "agree, literally "feel together," from assimilated form of com "with, together" + sentire "to feel"
Interactive Sound and Active Listening
Interested in both emergent, as well as ancient technologies 0ct0p0s explores areas of haptic and spacial Sound, Auditory AR, Psychoacoustics, and Improvisational Performance Scores (such as Deep Listening and Vocal Techniques) applied within the context of interactive performances, films, or games. As algorithmic feedback, it would experiment with generative music eg. using sensors, spatial mapping, biofeedback, vocal modeling, cloning & synthesis. In terms of bodily or perceptive extension, it would explore the effects of directional and binaural microphones, bone-conduction headphones, and wearable bass technology but also somatic exercises. To give the active listener agency and meaningful choices it might be interesting to play with different adaptive audio techniques used in computer games (such as horizontal re-sequencing or vertical re-orchestration) in more spatial and immersive contexts. The practical exploration would be situated in the reflection around the role of sound in accessing deeper layers of meaning, memory, and non-verbal communication.
Plasticity & Resonance
The project explores applied forms of Adaptive Audio and Somatic Listening to extend our sensing capacities and critical reflection on the circular relationship between algorithms and our bodies. It will draw from both; the research of neuroscientists such as David Eagleman who use haptic feedback to develop new sensing capacities, as well as the critical views on the brain's plasticity as discussed by Catherine Malabou. On the one hand, the project opens us up to the potential of extending our perception and world-making through sound. On the other, it explores sensual ways to address the problematic feedback between our brain and predictive algorithms generated by cognitive capitalism. The research will also entail experimentation with various choreographic scores, their relations to the notation of music, and how to translate them to social interactions.
‘Deep Listening: A Composer's Sound Practice’ - by Pauline Olivieros
‘For More than One Voice. Toward a Philosophy of Vocal Expression’ by Adriana Cavarero, 2005.
‘Low End Theory_ Bass, Bodies and the Materiality of Sonic Experience’ by Paul C. Jasen, 2016
‘Sonic Agency_ Sound and Emergent Forms of Resistance’ by Brandon LaBelle, 2018
‘Sonic Possible Worlds, Hearing the Continuum of Sound’ by Salomé Voegelin, 2021
‘Sonic Somatic_Performances of the Unsound Body’ by Christof Migone, 2012
‘Sonic Warfare_ Sound, Affect, and the Ecology of Fear’ by Steve Goodman, 2009
‘Sound Characters (Making The Third Ear)’ by Maryanne Amacher, 1999
Mauro Hertig, composer with an output of ensemble, chamber and site-specific works. His focus lies on explorations of interdependence, creating stage environments that distribute agency in game-like settings, often using sounds of intimate speech, touch and instructions.
NSDOS, musician and choreography researcher. Inventing his own his hybrid tools out of old audio converters, Gameboy emulators he unravels the rectilinear anatomy of techno music. Inspired by meteorological stations and according to a principle of «bio feedback», he surveyes the movements of nature, turned into data before translating them into sounds, textures and rhythms.
Steph Holl-Trieu, artist and researcher sculpting Sonic Worlds taking cues from a perpetual interplay of media theory and historical materialism.
Thomas Deueles, neurologist, musician, and neuroscientist. He has invented a brain-music interface, called the Encephalophone, allowing one to generate music in real time without movement. He has begun clinical trials of the Encaphalophone to restore musical ability to patients who are paralyzed from motor disability.