Were two initiatives (INNER EAR AND NEGATIVE SPACE) from which  a series of actions were derived to build dialogues between different people around listening experiences. On the one hand the particular characteristics of how we listen were taken into account and then secondly this was  combined with conceptual issues within the sound art context (the difficulty of opening in sound art exhibitions, the marginalization of experimental music and the development of inclusion strategies around the art with sounds) with exercises of reduced and expanded listening.

Listening is really annoying!!!!! In fact most of the time, we avoid it, perhaps it has to do with the fact that there’s not a physiological function that allows us to close our ears. However, there is still hope for the ear, and for listening. Ballet dancers are able to trick the information send  to the brain by the ear while spinning for equilibrium purposes, they achieve this by focusing their gaze at a fixed point.  WE ARE NOT GOING TO DO THAT, fuck that shit!!!Inner ear is a series of interventions on daily life listening. 

Listening is really annoying!!!!! In fact most of the time, we avoid it, perhaps it has to do with the fact that there’s not a physiological function that allows us to close our ears. However, there is still hope for the ear, and for listening. Ballet dancers are able to trick the information send  to the brain by the ear while spinning for equilibrium purposes, they achieve this by focusing their gaze at a fixed point.  WE ARE NOT GOING TO DO THAT, fuck that shit!!!Inner ear is a series of interventions on daily life listening. 


Activities:

1. Silent talk?:  A conversation mediated sound protection ear plugs which introduced: the persecutory nature of certain sounds, architecture, some clichés, stereotypes and sound references. The result led to: first a communication discomfort related to people being unable to control the volume of their voice the voice, the generation of very long silent pauses between people. On the other hand, the need to raise the voice most of the time to communicate arose. This conversation which was proposed as a formal conversation ended  (because the prescribed conditions) being an argument in a loud tone for the people around the room that where not involved.


2. Shedd Aquarium: A sound walk thorough the Shedd Aquarium in Chicago IL. The walk had the peculiarity that those who were part of the route had industrial ear plugs, highlighting the listening from inside the body.

"El sonido es esto: ese vaivén en el que algo se ha movido. <<Aliento inmenso de la mar.>> En francés no es difícil oír <<de la madre>> [mer: mar: mère: madre] e imaginar una respiración cercana y gigantesca. Pero este <<aliento inmenso>>, ¿no podría ser también la imagen escotomizada, por parte del durmiente, de su propia y tan cercana respiración? El aliento de la mar y del durmiente serían una misma cosa. Así Hugo terminaría su poema mediante una confrontación especular entre el poeta y el cosmos. Cuando no hago ningún esfuerzo por volver a proyectarlo hacia fuera, ¿el sonido esta dentro de mí? Todo ello, esos sonidos de voces, de herramientas, de caballos , de campana, ¿no podrían estar tramados dentro de mí, contenido dentro de mi respiración interna de la misma manera que el aliento marino –imagen invertida del mío- trama, engloba y absorbe, en su caída al modo de Hugo, todos los demás ruidos.” 

-[1] El sonido, Michel Chion, Ediciones Paidos Ibérica, S.A. pg. 25, 26


3.  IMAX: The chairs F 17, 18, 19, 20, 21, 22, 23, 24, 25, 26. of an IMAX cinema were fill  with people who decided to use industrial sound cancellers while projecting an action movie. This in order to highlight the role of sound in this type of audiovisual material. How when removing the sound evidence how the feature is not something visual or something sonic but it juxtaposition.

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NEGATIVE SPACE IS NOT ARCHITECTURAL, IS SOCIAL.


Activities: 

1. “I ́m not able to make a distinction”:A conversation about the apparent relationship between the architecture that integrates the landscape, local policies against spray paint and the inability to communicate together.


2. Self/Space: The understanding of a space, a map; in this experiment I take advantage of the egocentric quality of listening to cement a geographical center base in the experience of an individual.


3. Food Tasks:  This activity aimed to integrate food and inner listening, to emphasize that listening takes into account the sonority of our body and how when we highlight these features, in this case affects how we perceive the act of eating.