ISBN: 978-0-9889375-6-7
18,5 x 24 cm (softcover)
64 pages (duotone ill.)
Published: October 2016

les presses du réel (EU)
DAP (US)



THE DIRTY EAR FORUM is an experimental forum for sonic research. Occurring in different locations and settings, it is based on the coming together of a selected group of practitioners to share and exchange research on sound and listening, and to collectively work through a range of sonic concepts. Each Forum is developed through collective decision making in terms of how to focus the process, and how to publically manifest the work, as a type of concluding action. At the center of the Forum is a desire to bring together individual viewpoints and practices into a shared activity, embracing sound as a conceptual and material platform that may provide creative opportunities for collaborative and pluralistic expressions.

In particular, the project aims to pose sound as a material that allows us to rethink modes of collective work. It considers how sound evades our ability to physically hold onto it, how it moves through an environment and often passes over boundaries, and how the invisibility of sound often eludes description or capture. These dynamic and rather dirty qualities of sound are central to the Forum, and to enabling a sound art attuned to a diversity of situations, and that seeks out the multiplicity of being together.




Dirty Ear Report #2
Ricarda Denzer, Claudia Firth / Lucia Farinati, Brandon LaBelle, Ana Pais, Tao G. Vrhovec Sambolec, Alexandre St-Onge, James Webb

Dirty Ear Report #2 documents a collective workshop by leading sound artists and theorists working in the fields of experimental dramaturgy, electronic music and noise, voice studies, sound installation and social acoustics. The second in the series of the Dirty Ear Forum, an experimental forum for sonic research held at Bergen Academy of Art and Design in Norway, the Report brings together essays, text pieces, documents and scores from the participants, arguing for sound as the basis for a new discursive paradigm. In particular, questions of noise and otherness, sonic materiality and a politics of possibility are considered, posing sound as a force of multiplicity.
 

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