A somaesthetic approach to acoustics

Research

Atmospheres and Architectonics Conference, 10-12 February 2025
Conference Hosted by: Doctoral School of Moholy-Nagy University of Art & Design,
Budapest & Aetmostudio (MOME)
Conference Partners: Hungarian Forum for Somaesthetics; University of Naples
“L’Orientale”; Somaesthetics and the Arts Center of the Academy of Fine Arts in Krakow,
and the European Somaesthetics Network.
Peer conference: Somaesthetics of Atmosphere at Florida Atlantic University, 7-8 November
2024

The research explores how embodied listening deepens our connection to
space through the use of designed acoustical sound objects. Listening plays a crucial yet often unconscious role in how we emotionally and physically engage with the environments we inhabit.
The research emphasises the significance of spatial awareness through active listening. Historical and artistic examples demonstrate the essential role of listening in shaping our perception of the environment. In the field of archaeoacoustics, handprints found in caves reveal the most resonant spots, suggesting that prehistoric humans had a deep awareness of the acoustic qualities of their shelters. Resonance as an auditory effect was an important factor how in how early humans lived in their shelters. Additionally, in ancient Greek theaters, acoustic bronze vessels were used to amplify voices from the stage, suggesting the theory of using objects to alter acoustics in order to improve their experience.

As an artistic methodology, composer Pauline Oliveros developed a practice based on her
connection to space through listening. While performing in a cistern, she became aware of how
the acoustics influenced her music, an experience that later inspired her renowned Deep Listening
practice. The acoustics of the space catalyzed her profound, embodied listening, allowing her to
improvise with great sensitivity to her environment. Distinctive acoustics alter how people engage
with their surroundings. However, in our everyday lives, unique acoustics are not easily accessible. Resonant Artefact builds on these ideas by asking: What if we bring architectonics directly to our ears? Can designed acoustic objects help us achieve embodied listening and expand our sensory
boundaries? These questions form the core of the research, which investigates how acoustical
sound objects (such as acoustic mirrors, mini resonant chambers, and cones) can ignite similar
experiences to those found in prehistoric caves with resonances. To explore this further, a case study will be presented: a workshop in Rotterdam, led by together with Dutch spatial designer Iris van der Wal, involving an anti-choir group. Hands-on, or rather “ears-on,” experimentation is crucial, so before the workshop we designed and built various acoustic objects to test the Resonant Artefact research with the participants. The group used custom-designed acoustic objects (mini resonant chambers combined with wires) to rediscover their environment through listening of the resonances. By engaging with these objects, they experienced new ways of perceiving their bodies in relation to space. Deep Listening exercises were incorporated to enhance this exploration, encouraging participants to expand their sensory awareness through external auditory stimuli and rediscover sensory augmentation.