Hearing on the verge

Cuing and aligning with the movement of the audible

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In 'Hearing on the verge: cuing and aligning with the movement of the audible', we engage the sonic landscape by recording and listening in movement. This is a cueing and aligning with the audible in our respective urban ecologies, in a counterpoint of moving and listening. We relay and exchange these recorded sounds, write and compose with them while expanding modes of listening across space-time and across situated milieu of hearing. As hearing in movement intensifies the verge of the audible, it multiplies, stretches and concentrates the otherwise indistinct noise of urban ecologies into new intensities, contours and articulations. In the process of moving with hearing, listening becomes a technique of gathering audible rhythms, refrains and qualities within and with an inhabited body. What's more, the pathways of roads and corridors that habitually map and prescribe trajectories through space lose their force of extensive continuity, or the authority with which they delineate space and script, direction or position, within it — places become viscous in the attunement with their sonic consistency, in the dynamics with which it is stirred, swallowed and waded through.

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About the author(s)

Nicole De Brabandere is a PhD candidate in artistic research at Zurich University of the Arts (ZHdK) under the supervision of Giaco Schiesser and Erin Manning. De Brabandere develops techniques to generate affective attunements across media and material milieu, including clay modelling, drawing, video, audio, choreography and discursive practice.

Graham Flett is presently a PhD candidate in Music Composition at Brunel University (U.K), under direction of Christopher Fox and Michael Finnissy, Flett’s artistic research aims at articulating how composed music and organized sound as an act of culturally mimetic behavior, can reveal new ways of creative expression.

Seismograf Peer Review

Seismograf/peer is a peer-reviewed online platform devoted to practical and theoretical issues in relation to contemporary music and sound art hosted by the online journal Seismograf/DMT (seismograf.org).

Seismograf/peer covers a broad range of topics including sonic materialities, modes of listening, philosophy of sound and music, aesthetics, technology, audio visuality and performative, curatorial and archival matters related to the sonic arts.

Seismograf/peer encourages a wide spread of methodologies and theoretical discourses from more established academic approaches such as sound studies, musicology, cultural studies and performance studies, to artistic research, practice-based research, artist writing and media archaeology.


Seismograf/peer is hosted by the journal Seismograf/DMT (seismograf.org) - the oldest music journal among the Nordic countries. Seismograf/DMT has a long and strong tradition of publishing Danish articles, interviews, debates and reviews by both academics and composers, and has within various times, been the most inspiring and important platform within this field. Embedding Seismograf/peer is a natural development of this tradition, which acknowledges the demands of publication within higher Art Schools and Universities.

The journal is supported by the Danish Arts Council and The Danish Composers’ Society.