The Center For Deep Listening

Day 227 of A Year of Deep Listening



Friendly algorithm was created during my studies in 2017 to become a Deep Listening certificate holder. It follows a conversation I had in London with artist Monika Dorniak whilst walking by the river Thames.

Artur M. Vidal is a Spanish-born saxophone player and artist who grew up in Paris and currently resides in London.

Day 226 of A Year of Deep Listening



Musician and Composer with electronic musical instruments. Lives in Lucerne. Reber is searching for sound in nature and, having dealt with microscopic noise structures for years, she has found ways to transform them into pictorial soundscapes and use them as elements for her compositions. The performance of her compositions is often placed within a natural environment (within a natural setting) with the result that the natural sound environment blends into her composition and vice versa.

Day 225 of A Year of Deep Listening


ACT OF BIRTHING VOICE, by Doctora Xingona Diana Alvarez

Doctora Xingona Diana Alvarez’s ancestors bloom in her/their voice. Her/their songs roar an otherworldly fire against oppression, exalt queer love and liberation, and create a gripping atmosphere for healing. Doctora Xingona’s poetic songs live in-between, where borders are a myth. An expansive multimedia artist and educator, Doctora Xingona’s music, poetry, performances, films, and gatherings center transcendence, kinship, and the co-liberation and nourishment of queer and trans artists of color.

Day 223 of A Year of Deep Listening


DREAMING FOR THE EARTH, by Raylene Campbell

Solo or group.

Raylene is a sound artist who’s embraced various creative practices including improvisation, composition, performance art, sound and image, public intervention, and Deep Listening. They have a Master of Fine Arts degree from the Milton Avery Graduate School of the Arts at Bard College, and taught in the Department of Music at Concordia University. The focus of Raylene’s creative process involves explorations of acoustic ecology, psychogeography, computer interactive technology, and audience interactivity in both performance and installation environments.

Day 222 of A Year of Deep Listening


PULSE POLYRHYTHM, by Tristan Partridge

Tristan Partridge is a social anthropologist and photographer exploring how experiences of sound and intersubjectivity shape critical approaches to art, activism, and humanistic research. Working with the concept of aural anthropology, these explorations attend to sound as a medium that generates, complicates, and sustains relationality. Solo and collaborative projects include A Wake of Starry Tongues, In Posterface, and Coagulars; works have been performed internationally including at Echo Park Rising (Los Angeles, California) and //BUZZCUT// (Glasgow, Scotland).

Day 221 of A Year of Deep Listening



Jasmine Thomasian (they/them) is a Chicago-based composer (collaborator, educator, dog parent, listener) passionate about sound, identity formation, and the interpersonal dynamics of Western art music. Jasmine’s artistic output spans a range of musical aesthetics, with each piece forming around a core question or musical object and often incorporating theatrics, extended techniques, and mundane texts or objects. Jasmine is currently pursuing a PhD in Composition and Music Technology at Northwestern University.

Day 220 of A Year of Deep Listening



Max Gibson is a British-Irish composer, performer, poet, and improviser. He has had works performed in Australia, Belgium, Brazil, Canada, Sweden, Turkey, the USA, and across the UK. His most recent work focuses on aspects of expanded time, line and counterpoint, sound massing, the act of listening, and an engagement with configuring the space of performance and spectatorship through interdisciplinary approaches to composition. His work is inspired and informed by medievalism, architecture, globalism, industrialism, astronomy and astrology, and the natural world.

Day 219 of A Year of Deep Listening


AS IF, by Mira Martin-Gray

Mira Martin-Gray is a musician, improviser, producer, and composer / sound artist / whatever from Toronto. A multi-instrumentalist, injury and chronic illness led her to find a way to make music accessibly. From a collaborative improvising practice involving feedback systems to electroacoustic recordings, dance records and indie pop songs, her work has appeared on multiple labels internationally.

Day 218 of A Year of Deep Listening



Ben Glas (b. 1992) is an experiential composer based in Berlin. Through ephemeral compositions Glas’ work questions preconceived notions between the acts of passive hearing and active listening. In seeking to discover open ended forms of music and pragmatic listening perspectives, Glas’ compositions focus on the realms of subjective perception and cognition, via the use of acoustics, psychoacoustics and space as tools for sonic composition. He is currently receiving his M.A. in Sonic Studies at the UdK.