4DSOUND invites artists, researchers and technical developers from a variety of disciplines to apply for the Artist Residency Programme at the Spatial Sound Institute in Budapest, Hungary.
For the past ten years, 4DSOUND has been developing and investigating new ways to create, perform and experience sound spatially. This has led to the development of an omnidirectional sound environment where you can experience sounds moving around, above, beneath, in between or through the listeners, disappearing into far spatial distances or coming intimately close to the body. An experience of sound seemingly independent from the physical borders of the space one is in, or the presence and place of actual loudspeakers in the room.
In the present, spatial sound is making its way into the common consciousness, as our media are moving towards representation of 3-dimensional spaces, using virtual reality, augmented reality or 360-video technologies. But beyond the fact that we can represent sound spatially ever more accurately with our evolving technologies, why is this important? What is spatial sound about, beyond a reproduction of the reality that surrounds us already?
Spatial sound tells us something essential about how we relate as human beings to our environment. It also tells us something essential about the working of our systems of perception and consciousness. Spatiality of sound is among the finest and most subtle levels of information we are able to perceive. Both powerful and vulnerable, we can be completely immersed in it, it can evoke entirely new worlds of experience and insight. But we are just as easy to forget our ability to listen in this way, among the all-invasive informational and acoustical noise of our physical and digital environments.
Spatial sound is defined by the qualitative relationship of sound, the environment and the listener. Understanding this process means that developing and applying new spatial sound technology is not enough in itself. There is the need to develop new forms of content and presentation that enhance our ability to listen in a deeper way. And there is a need to evolve our understanding of, and relationship with, listening itself.
As we refine and cultivate our ability to listen spatially, we reach new states of sensing and awareness of our environment. We gain new insight in the type of spaces we want to be surrounded by, and how we want to live within them. As we develop new conceptions of sonic spaces, new forms of sound aesthetics emerge. We see a shift towards spatially expansive, materially minimal, durational sound that stimulates a more creative, participative role for the listener. Ultimately, the way we will be able to evolve our listening, will be the way we evolve our environment.
Learn more about this process that we call the 'Ecology of Listening' in this article and this talk - both dealing with the fundamental relationship between listening and the evolution of our environment. At heart, we are interested in developing new practices with sound and listening that facilitate healthier, better connected societies, whilst opening up new musical and artistic possibilities.
The call for proposals seeks to engage projects that contribute to developing the Ecology of Listening.
Submissions for residencies may take place in the period January 1st - December 31st 2018.
Proposals may run from one month up to one year - depending on the scope of the proposed project and available funding.
- Applications can be submitted up until the deadline October 1st 2017, and will be reviewed by the Curatorial Board of the Spatial Sound Institute for selection in the programme.
Visit the Artist Residency Programme page for the detailed guidelines on how to apply.
Header photograph by Mark Martinko: 'Artificial Green No. 14'