Sonic Acts of Noticing

Take a moment to make space for listening. Find somewhere comfortable to sit and use headphones if possible.

As you listen, texts will appear on the screen. Allow listening to guide your interactions with them (moving, closing, opening them as desired).

You can save 'artefacts' to your library by clicking the plus symbol. These selections will map out your unique listening journey in space and time.

Settle comfortably, notice your breath and your contact with the chair.

  • 4.Langsett Landscape Lab

force of the wind on the microphone diaphragm
points of departure
Recording technologies
effects of human systems on more than human lifeforms


Lugging kit around the landscape
Partial knowledge
more of a Yorkshire twang than I realised- journeys carried within the voice
plane up high
the moon
I can hear a siren but it's not in the recording


Partial sensing
ha- happenstance, layers of places
storms as tis creature that appears in the sky
Runs, trickles, pulse
sky and air and earth
Ungainly devices
tiny stream
breath of the earth


for any given- contingency
'a difference in the shape of the hydrographic for any given rainfall event'
held in the air
the planes are pretty constant
Ideal vs reality
hyrdographs / hydra/ water godess
voices in the background, birdcall in the foreground


speculating together
Living as well as possible - practice of care
Definitions / relative / signs and signifiers
shall we?
as we were standing here.
holding into place
where and when shall we try things out>
spatial triggers
prompts, props, propositions,


materiality of trousers
meeting of the bodily and the earth
Remembering this place in the cold and wet
ha! kit
constant rhythm of movement, resolve to move
Squelch not trudge
purpose/ purposeless


approaching something
friction, as way of learning
purpose but what purpose
breeze, dream
sweet smell of bracken
collaboratively identifying it


Massive steel and concrete fish pass
plane again?
going into a leisurely way of being (and countryside as place of leisure for many of us) in order to think otherwise...
Sledgehammer to crack a nut
the shotgun mic is so directional
that is what happens when we move it
broadband noise muffles the surroundings


emerging from a manmade intervention
plurality proliferates
a closer trickle now
where does the man-made end and nature begin?
human proximity and perspective guided by the ear
Detail in the white noise
locating, focus\\
Stuart's ears


kind of intimate
this trickle could be domestic
Reading poetry
This sound goes on all day and all night even when we’re not there
Omg they’re taking their shoes off


friendships- extended and offering and passing forwrad, translating to context
Slippery stones
Soundscape of a methodology
Branches and woody debris. Channel still rough cut
our ear- our bodily listening surface
trying something - improvising
requires a bit of trust
woody debris


extending your listening surface
how uneasy we were really with standing on slippery stones- fish out of water
Heading through feet
'feeling distant touches' - Anastasia
capturing earth
what are the limits and boundaries for us in the office of together-doing-
how can this shift here and we have more agency, of what is okay?


Visualising molecules travelling and carrying
poacher turned gamekeeper
landowners want to hunt game
who are we making our knowledge for- and how might it be misused?
Hidden landscape
what's the fixation with killing stuff?


Red lines
Rough terrain of conflict and smooth plains of consensus
wind on the mic again
this landscape- our imaginary and
planes again
infrastructure as a more-than-human project
Cut gate, ancient highway


hey, ey, joyful interruptions/ layer
Original transport infrastructure
what happens if we rethink this water infrastructure as a more-than-human project?
thinking with, what kinds of thinking are we doing together?
in what way?


that reverb wouldn't be there if we hadn't intervened
who and what has been considered unnatural historically, and why?
New habitats for waterfowl. Service stations for ospreys migrating north
did that work? try again


ears now under the reservoir
Farmyard sounds
electrical signals
tiny aquatic critters
Grunt grunt
Julia said it was like a xylophone when asked


I find it transfixing
signals from an other world
Completely fresh experience of this waterscape
you can almost hear us talking in the background


we are outside of the centre
The upside down
Emerging out of the water
industrial prospect
water treatment works


capturing the water
an intensive process of water treatment; removing chemicals and the brown peaty colour
Intensive but not loud


'people don't like brown water coming out of their taps'
The water isn’t of itself. It has been purposed
what we need to unlearn- water colour
nearly back at the car park
clunk click, an ethnography of gates and styles
The whole landscape is a collage of purposes
crushing the pathways
collage of purpose
friendships, walking the paths together


'I started my writing commission by drawing connections between Laplanche’s concept of “alien-ness” and the moon rock. But it soon became clear that I could only communicate what I found so enlightening about this psychoanalyst’s work tp other art users by setting up a situation where both versions of alien-ness­ — Laplaches’s and the moon’s—could be brought together. To do this, I had finally to use the theory.


Alien Position Three
Find out the date and time of the next full moon
Take up a position where you can watch the full moon rise.
Wait until the moon is at its zenith.
Look at image 80.*

You are looking at an image of the earth taken from the moon.
Lift the book to the night sky with the image of the earth facing you.
Position the image of the earth so that you can see the moon at the same time.
Hold the image of the earth and the moon together and wait…'


Take a walk at night. Walk so silently that the bottoms of your feet become ears.


'The question of how to listen became gradually more pressing for Freud and his circle as they created the job of professional listener. Of course doctors, priests, and faith healers had been doing it for years, but they would tend to follow up their listening with a definitive course of action – surgery, Hail Marys, rituals. Psychoanalysis was different in that the quality of listening was foregrounded. The listening itself explicitly formed the cure. The trick was somehow to listen in a way that that enabled the other person to hear themselves afresh. In order to do this, Freud developed the idea that the analyst’s "evenly suspended attention" should form a counterpart to the analysand’s free association.'