2024
Acoustic Territories(The Shoemaker’s Guest)
Situated Listening Modes in an Ecological place
Song of Old Ones
An Ethnography of Chasing the Wind
Soundwalk: A Short Story of the Wind
Land, Ghost and the Rumors(2024)
Into the (re)wild(Essay)
2023
Anthropocene Sonnet
Land, Ghost and the Rumors(2023)
Re-shaping t/dunes(2023)
2022
My Neighbor K; The Peculiar Garden
Moving Air
Re-shaping t/dunes(2022)
Acoustic Territories(Fragile Lines)
2021
Inscription
Listening Performance: Flashback session / The other’s sonic experience; Bus22
2020
Aural Tectonics / Feedback Devices
2018
Fall in/out
Title: Listening Performance: Flashback session
Place: The grey space in the middle, The Hague
Date: 8/7/2021 - 11/7/2021
Format: Performance
2.
Title: The other’s sonic experience; Bus22
Place: The grey space in the middle, The Hague
Date: 8/7/2021 - 11/7/2021
Format: Audiobook
Listening Performance: Flashback session
Her series of listening works explores the question, ‘How does hearing experience construct?’ in the context of psycho-philosophical acoustic.
In the performance, She puts a binaural microphone into my ears and invite the audience to her auditory perception with a site-specific binaural recording and unique narrative using voice. It starts from listening to a place where performance is happening, then jumps to surreal space-time.
The most recent one, Listening performance: flashback session, is about a hearing experience in my memory of the Hague.
She brings audiences to a personal specific time and places in the Hague. In this process, she dialectically explains what elements constitute a hearing and audiences experience.
2. Link to the website
The other’s sonic experience; Bus22
Bus 22 is an audio-playback of a fictional story with visual instructions. It is based on two main aspects; Anamnesis: mnemo-perceptive effects, and Voice in thoughts: storytelling.
The book includes one and a half years of artistic practice and research on sonic experiences and Sci-fi audio fiction: Bus 22.
The research starts off from a first-person perspective – myself; what am I listening to now? The surrounding soundscapes is represented by sound notations in an explicit form and explored through listening performances in order to understand the structure of hearing in a philosophical way.
Then, the thesis shows how the writer’s interest moved to ‘the other’ (second or third person perspective) with the question: What is I’m listening to and how is it different to what you’re hearing? This brings forth the element of fiction by which a third person’s sonic experience is revealed.
Bus 22 is an audio-playback of a fictional story with visual instructions. It is based on two main aspects; Anamnesis: mnemo-perceptive effects, and Voice in thoughts: storytelling. Finally, the thesis talks about the encountered difficulties during research and making processes. The conclusion encompasses the value of perceived and narrative based sound arts.
Although this taxonomy can be effectively applied for the purpose of communicating acoustic knowledge, the classification is difficult to erase ambiguity.
The exhibition consists of performances and installation art, live acts and audiovisual media art in which the visitor moves from space to space in a journey of unexpected and energizing experiences. During the exhibition, students invite the audience to put aside the role of the passive spectator and step into the action, through a collection of stimulating devices, constructions, experiences and narratives. With this selection of artworks, they take visitors into the world of ArtScience.
The collective show will consist of interdisciplinary works exploring different mediums such as:
Sound / Touch / Light / Motion / Installations / Performances / Music / Literature.