Alessio Castelacci, Katrine Faber, Kirstine Lindemann, Maria Braender, Nanna Hauge

We are experimenting with TOUCH and the liminal space between sensing/feeling and hearing/sound, and exploring connectivity between humans through touch and the soundings of these.

Activity includes recording/amplifying touch, experimenting with how we sound before and after touch, and working with scores, performativity and touch as a musical means of expression.

Research Questions:

How does (a) touch sound? How does a sound touch?

Can touch stimulate listening?

How can we work with touch and create sounds/or even music??

How can we work with amplification in this regard?

How does touch affect the way we sound? Our voices?

How can we use touch/sounds to strengthen empathic bonds?

Texts to inform the research: 

Listening and Voice, Phenomenologies of Sound (Don Ihde)

Sonic Agency (Brandon Labelle)

The Open Throat (Nicholas Harkness)

Sonic Imaginations (Jonathan Sterne)

Torben Hangaard Rasmussen: Kroppens Filosof (on Merleau-Ponty)

Microbial Stomach Growl

During the creative research process with Sounding Bodies artists Maria Braender and Katrine Faber teamed up and developed Microbial Stomach Growl, which was presented at Fermenting Feminism. Microbial Stomach Growl is a speculative science fiction fantasy and an interdisciplinary voice performance devised from research into microbial gut data. Inspired by Computational Biologist Peter E. Larsen who has studied methods to compose microbial music, Microbial Stomach Growl questions what we can learn from our gut’s delicate eco-system. Can listening to the microbes inside of us make us more environmentally aware? And are microbes feminist?