February 14 – 16, 2020
I’ll be leading a workshop that I call “Performing the Past, Composing the Present, Altering the Future”
Bonnie’s session explores the physical and material dimensions of sound and field recordings. We’ll explore how this informs musical composition and live performance. Using recordings collected by students, we’ll improvise soundscapes and explore alternate performance strategies that combine sound with text, video, and other media.
In 1992, the anthropologist Steven Feld coined the term acoustemology, a combination of acoustics and epistemology to argue for “sound as a way of knowing.” In doing so it inquires into what is knowable, and how it becomes known, through sounding and listening.
In this three-day intensive workshop, lead instructor Zach Poff will use field recording to explore sound as a way of knowing that embraces phenomenology, relationality, and reflexivity. We will practice knowing through sound, listening with an ear toward the relationships between humans, non-humans, and processes that surround us. We will practice knowing with sound as we contribute our own gestures back into the network of sounding subjects through domains like radio, sound art, music, and film.
This workshop features listening sessions, hands-on recording demonstrations, introductions to novel sensors like contact microphones and hydrophones, and participatory and performative group work. Each session is anchored by a presentation from an invited guest artist: Viv Corringham, Bonnie Jones and Monteith McCollum.
Sound disrespects boundaries and connects disciplines so this workshop is open to anyone with a passion for sound: filmmakers, sound artists, podcasters, musicians, writers, or simply curious listeners.
Participants will get in-class experience with an array of professional recording equipment, but it will be beneficial to bring your own. (See Technical Requirements below.) Each day will conclude with opportunities for participant work-in-progress critiques.