Cona events source

How do we tune into the city? How do we recognise that the everyday soundscape of the city, enveloping us as we open a window or step onto the street, is in fact the longest and most enduring musical composition? How can we understand artistic practices of acoustic ecology and psychogeography that require active auditory awareness? How do we read and listen to such works, and how do we participate in them?

The educational programme unfolds alongside the TO)pot festival of radical soundwalks as a dedicated strand aimed at educating young people in auditory sensitisation and critical-poetic reflection. Participants listen to and document the festival programme, developing attentiveness and reflective awareness of the surrounding environment. The collective sound work produced by the participants is broadcast on Radio Študent.

Lectures within the workshop are given by Irena Pivka, Saška Rakef and Marta Medvešek.

Audio works by workshop participants:

• Lucka Zajc: Dovolj_1
• Filip Jelovšek: Topotornotopot
• Naomi Uma Zorman: mal zadihi
• Tadej Grum: Terapija za ušesa
• Ana Lorger: Pasivistka
• Veronika Rakovec: js pa ti feminist
• Lara Slekovec: Restart

Have you ever been to the woods? I imagine you smiling slightly now, with a hint of sarcasm. “Of course,” you tell yourself. “What kind of question is that?!” But have you really? Have you been to a real forest? The kind you pay to enter?

Walking is never innocent. Walking shapes the landscape. It indulges the gaze. Walking is political. It creates realities depending on where we go, with whom, when, the weather, clothing, thoughts, feelings, health conditions, terrains, forms, plants, types of soil, moisture, and every other element you can think of.

I lost myself in the woods. Come walk through me!

If Trees Would Cry, We Would Cry Too is a soundwalk, a site-sensitive walking activation that recalibrates the mind and body and makes them receptive to perceiving agents that have not been mourned or are impossible to mourn. The walk honours the life of Pika, the artist’s family dog companion who passed away in May 2023. It is framed by an audio recording of a walk the artist and Pika first took together in April 2008.

The artist grieves. By repeatedly walking the route, she allows memories to surface.

In seeking answers to questions of what is considered worthy of mourning in our society, how we collectively confront ecological grief, and how we can mourn other bodies, the walk includes reflections shared by Lea Leskovec, a forester, who considers experiences of death in forest environments.

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The Memodrom soundwalk is a compost of memories of the most beautiful city in the world. It unexpectedly guides you through a spiral of memory in which the city by the river becomes a labyrinth, and sound triggers situations that surface from oblivion.

Memodrom creates a parallel experience of the city in which public infrastructure does not serve as functional space. It merely exists only as a backdrop for the actions within the sound space. Instead of an immersive experience, we create an emersive experience. Memodrom idolises your right to forget.

In less than an hour, it exposes you to the sonic memories of generations who have experienced Ljubljana through older sound carriers. Using the “file” reproduction method, we will collectively revive these memories – from evergreen music hits to public figures overlooked by history to the city’s supposedly most invasive inhabitants.

Would you like to set aside one of your memories, too? Memodrom awaits your call.

Inspired by Italo Calvino’s Invisible Cities, Inaudible Cities explores suburban areas through a series of spontaneously generated soundscapes that highlight often overlooked sonorities of urban environments.

Inaudible Cities #3 invites participants to a hybrid walk where normally inaudible flows and movements of earth, air, fire and water within urban infrastructure open gateways to temporally and geographically distant sonic environments and memories.

The project represents the third iteration in a series of soundwalking initiatives exploring urban peripheries, shifting attention from the visual to the sonic and from the extraordinary to the infra-ordinary.

O, WHAT A WORLD of unseen visions and heard silences, this insubstantial country of the mind! What ineffable essences, these touchless remembering’s and unshowable reveries! And the privacy of it all! A secret theater of speechless monologue and prevenient counsel, an invisible mansion of all moods, musings, and mysteries, an infinite resort of disappointments and discoveries. A whole kingdom. where each of us reigns reclusively alone, questioning what we will, commanding what we can. A hidden hermitage where we may study out the troubled book of what we have done and yet may do. An introcosm that is more myself than anything I can find in a mirror. This consciousness that is myself of selves, that is everything, and yet nothing at all — what is it?

And where did it come from?

And why? [1]

In The Origin of Consciousness in the Breakdown of the Bicameral Mind, Julian Jaynes introduces us to a poetic series of questions about invisible visions and audible silences that explore consciousness. His introduction served as inspiration for the original performance on the staircase of Cukrarna – a building rich in history, where the walls have absorbed the sonorities of the fates of Slovene modernist writers.

The work is now presented in a new location, in Navje Park in Ljubljana. The sound performance transforms into an immersion into echoes of the past, as participants create a sonic landscape through walking, evoking stored visions from the park itself. In this way, all the surfaces of the park become instruments of the visitors, amplifying the silences. The work raises more questions than it answers, reflecting Jaynes’s idea of consciousness as an intangible realm of the mind.

The technical core of the performance involves a sound sensor, a software algorithm, and a digitised database of modernist poetry. Together, these elements create a complex sonic tapestry composed of layered sounds and the inner voices of the literati.

[1] The origin of consciousness in the breakdown of the bicameral mind, Julian Jaynes, Penguin books, 1990.

Ljubljana is increasingly losing touch with its cultural identity, the essential component of which is also the city’s architecture. It is crucial to keep this component alive, fostering a personal connection between people and their history.

Green Atrium of the City is a sonic exploration of an abandoned space in the middle of the city, where a green landscape is growing. A soundwalk combining art and architecture draws inspiration from a historic building designed by Jože Plečnik, begun in 1925, weaving memories of the past into the present. The Central Stadium in Bežigrad has been closed to the public since 2008. Once a public space, it is now falling into disrepair, its significance increasingly waning. Through sonority and historicization, we want to bring the inhabitants and visitors of Ljubljana closer to the degraded space of the stadium, which has been distorted from different angles by the decay of time. In its silent decay, the stadium is suspended in a timeless void, inviting ideas for its revival. Echoes of falling debris, sticks, branches, and glass scratch the texture of the air, reminding us of a once vibrant place.

The soundwalk acts as a musical intervention, breathing temporary meaning into Plečnik Stadium and reviving its resonant core. It prompts deep reflection on the preservation of cultural heritage and foregrounds the more sensory perception of space. The soundwalk focuses on the complex sound structure and acoustic characteristics of Plečnik Stadium and its environment, which, with its resonant body, acts as an instrument – the stadium not only as a space but as a live sonic entity.

How do we tune into the city? How do we recognise that the everyday soundscape of the city, enveloping us as we open a window or step onto the street, is in fact the longest and most enduring musical composition? How can we understand artistic practices of acoustic ecology and psychogeography that require active auditory awareness? How do we read and listen to such works, and how do we participate in them?

The educational programme unfolds alongside the TO)pot festival of radical soundwalks as a dedicated strand aimed at educating young people in auditory sensitisation and critical-poetic reflection. Participants listen to and document the festival programme, developing attentiveness and reflective awareness of the surrounding environment. The collective sound work produced by the participants is broadcast on Radio Študent.

Lectures within the workshop are given by Irena Pivka, Saška Rakef and Marta Medvešek.

Audio works by workshop participants:

• Lucka Zajc: Dovolj_1
• Filip Jelovšek: Topotornotopot
• Naomi Uma Zorman: mal zadihi
• Tadej Grum: Terapija za ušesa
• Ana Lorger: Pasivistka
• Veronika Rakovec: js pa ti feminist
• Lara Slekovec: Restart

If Trees Would Cry, We Would Cry Too is a soundwalk, a site-sensitive walking activation that recalibrates the mind and body and makes them receptive to perceiving agents that have not been mourned or are impossible to mourn. The walk honours the life of Pika, the artist’s family dog companion who passed away in May 2023. It is framed by an audio recording of a walk the artist and Pika first took together in April 2008.

The artist grieves. By repeatedly walking the route, she allows memories to surface.

In seeking answers to questions of what is considered worthy of mourning in our society, how we collectively confront ecological grief, and how we can mourn other bodies, the walk includes reflections shared by Lea Leskovec, a forester, who considers experiences of death in forest environments.

Ljubljana is increasingly losing touch with its cultural identity, the essential component of which is also the city’s architecture. It is crucial to keep this component alive, fostering a personal connection between people and their history.

Green Atrium of the City is a sonic exploration of an abandoned space in the middle of the city, where a green landscape is growing. A soundwalk combining art and architecture draws inspiration from a historic building designed by Jože Plečnik, begun in 1925, weaving memories of the past into the present. The Central Stadium in Bežigrad has been closed to the public since 2008. Once a public space, it is now falling into disrepair, its significance increasingly waning. Through sonority and historicization, we want to bring the inhabitants and visitors of Ljubljana closer to the degraded space of the stadium, which has been distorted from different angles by the decay of time. In its silent decay, the stadium is suspended in a timeless void, inviting ideas for its revival. Echoes of falling debris, sticks, branches, and glass scratch the texture of the air, reminding us of a once vibrant place.

The soundwalk acts as a musical intervention, breathing temporary meaning into Plečnik Stadium and reviving its resonant core. It prompts deep reflection on the preservation of cultural heritage and foregrounds the more sensory perception of space. The soundwalk focuses on the complex sound structure and acoustic characteristics of Plečnik Stadium and its environment, which, with its resonant body, acts as an instrument – the stadium not only as a space but as a live sonic entity.

Inspired by Italo Calvino’s Invisible Cities, Inaudible Cities explores suburban areas through a series of spontaneously generated soundscapes that highlight often overlooked sonorities of urban environments.

Inaudible Cities #3 invites participants to a hybrid walk where normally inaudible flows and movements of earth, air, fire and water within urban infrastructure open gateways to temporally and geographically distant sonic environments and memories.

The project represents the third iteration in a series of soundwalking initiatives exploring urban peripheries, shifting attention from the visual to the sonic and from the extraordinary to the infra-ordinary.

O, WHAT A WORLD of unseen visions and heard silences, this insubstantial country of the mind! What ineffable essences, these touchless remembering’s and unshowable reveries! And the privacy of it all! A secret theater of speechless monologue and prevenient counsel, an invisible mansion of all moods, musings, and mysteries, an infinite resort of disappointments and discoveries. A whole kingdom. where each of us reigns reclusively alone, questioning what we will, commanding what we can. A hidden hermitage where we may study out the troubled book of what we have done and yet may do. An introcosm that is more myself than anything I can find in a mirror. This consciousness that is myself of selves, that is everything, and yet nothing at all — what is it?

And where did it come from?

And why? [1]

In The Origin of Consciousness in the Breakdown of the Bicameral Mind, Julian Jaynes introduces us to a poetic series of questions about invisible visions and audible silences that explore consciousness. His introduction served as inspiration for the original performance on the staircase of Cukrarna – a building rich in history, where the walls have absorbed the sonorities of the fates of Slovene modernist writers.

The work is now presented in a new location, in Navje Park in Ljubljana. The sound performance transforms into an immersion into echoes of the past, as participants create a sonic landscape through walking, evoking stored visions from the park itself. In this way, all the surfaces of the park become instruments of the visitors, amplifying the silences. The work raises more questions than it answers, reflecting Jaynes’s idea of consciousness as an intangible realm of the mind.

The technical core of the performance involves a sound sensor, a software algorithm, and a digitised database of modernist poetry. Together, these elements create a complex sonic tapestry composed of layered sounds and the inner voices of the literati.

[1] The origin of consciousness in the breakdown of the bicameral mind, Julian Jaynes, Penguin books, 1990.

In the Soundwalk As Art Therapy workshop, Colin Black invites participants to tune into their acoustic environment and focus on deepening their sense of self and connection with their surroundings, place, space and wider community.

Participants explore the creation of their own psychogeographic sound maps, with an emphasis on the emotional impact of place at the intersection of psychological and sonic-geographical perspectives. The workshop encourages reflection on how soundwalks can be understood as a form of art therapy and a self-expressive practice that supports personal well-being.

How do we tune into the city? How do we recognise that the everyday soundscape of the city, enveloping us as we open a window or step onto the street, is in fact the longest and most enduring musical composition? How can we understand artistic practices of acoustic ecology and psychogeography that require active auditory awareness? How do we read and listen to such works, and how do we participate in them?

The educational programme unfolds alongside the TO)pot festival of radical soundwalks as a dedicated strand aimed at educating young people in auditory sensitisation and critical-poetic reflection. Participants listen to and document the festival programme, developing attentiveness and reflective awareness of the surrounding environment. The collective sound work produced by the participants is broadcast on Radio Študent.

Lectures within the workshop are given by Irena Pivka, Saška Rakef and Marta Medvešek.

Audio works by workshop participants:

• Lucka Zajc: Dovolj_1
• Filip Jelovšek: Topotornotopot
• Naomi Uma Zorman: mal zadihi
• Tadej Grum: Terapija za ušesa
• Ana Lorger: Pasivistka
• Veronika Rakovec: js pa ti feminist
• Lara Slekovec: Restart

If Trees Would Cry, We Would Cry Too is a soundwalk, a site-sensitive walking activation that recalibrates the mind and body and makes them receptive to perceiving agents that have not been mourned or are impossible to mourn. The walk honours the life of Pika, the artist’s family dog companion who passed away in May 2023. It is framed by an audio recording of a walk the artist and Pika first took together in April 2008.

The artist grieves. By repeatedly walking the route, she allows memories to surface.

In seeking answers to questions of what is considered worthy of mourning in our society, how we collectively confront ecological grief, and how we can mourn other bodies, the walk includes reflections shared by Lea Leskovec, a forester, who considers experiences of death in forest environments.

Nikola Tesla was a brilliant engineer and eccentric renowned as the inventor of radio and alternating current. However, his greatest love was not technology, but a pigeon. Avian Love is a sound artwork inspired by Tesla’s deep affection for his beloved pigeon, charged with electricity and pulsing with emotion. Tesla once stated: “There was one, a beautiful bird… I loved that pigeon as a man loves a woman, and she loved me. As long as I had her, there was a purpose to my life.”

Originally commissioned by Deutschlandradio Kultur, in this live adaptation of Avian Love Colin Black electrifies the atmosphere, ignites the imagination, and guides the listener through an intimate sonic adventure. The work, which received the Audience Award at the 2023 Prix Phonurgia Nova Awards, weaves sonic elements into a tribute to one of the most electrifying love stories of the twentieth century.

Irreversible Loop explores bodies in relation to extremely distant others, unknown microbiomes, and glacial bodies in elemental environments. The artist actively immerses herself in cosmic impulses, seeking ways to loosen the anthropocentric orientation of contemporary civilisation. In August 2023, she ascended Triglav and Skuta, using microphones to eavesdrop on the ancient sonorities of vanishing glaciers. The Triglav Glacier and the Skuta Glacier, Slovenia’s last remnants of glaciers, faced accelerated melting in September 2023. By the autumn of the same year, extreme temperature and precipitation fluctuations had almost completely eradicated them.

“As I sat with the glaciers on Skuta and Triglav, shivering with cold and expanded consciousness, I listened to the sacred breath of the mountains and the complex language of the ancient waters accumulated in the glacial body. A powerful intuition emerged: the icy waters high in the mountains were bodies of cosmic transmission – receivers of cosmic particles and transmitters of their own mysterious sonority, glaciers as cosmic radio. Up there, you feel it deeply through your body, akin to the inspired meteorologists and practitioners of ancient Greek oracle traditions, who used their resonant bodies and breath to listen to the earth and the cosmos. The transition of ice into liquid water is instantaneous; in that moment, it reveals ancient and unknown mysteries. When the glaciers disappear, silence remains.”

Performative field recordings of glaciers included sonic studies using vibration, electromagnetic, tectonic, surface, and underwater microphones. The collected (post)glacial textural and structural patterns form the foundation of the acousmatic composition. In the performance, glacial sonority is expanded into the field of extended radio sonority in collaboration with Nikos Sotirelis.

The Memodrom soundwalk is a compost of memories of the most beautiful city in the world. It unexpectedly guides you through a spiral of memory in which the city by the river becomes a labyrinth, and sound triggers situations that surface from oblivion.

Memodrom creates a parallel experience of the city in which public infrastructure does not serve as functional space. It merely exists only as a backdrop for the actions within the sound space. Instead of an immersive experience, we create an emersive experience. Memodrom idolises your right to forget.

In less than an hour, it exposes you to the sonic memories of generations who have experienced Ljubljana through older sound carriers. Using the “file” reproduction method, we will collectively revive these memories – from evergreen music hits to public figures overlooked by history to the city’s supposedly most invasive inhabitants.

Would you like to set aside one of your memories, too? Memodrom awaits your call.

O, WHAT A WORLD of unseen visions and heard silences, this insubstantial country of the mind! What ineffable essences, these touchless remembering’s and unshowable reveries! And the privacy of it all! A secret theater of speechless monologue and prevenient counsel, an invisible mansion of all moods, musings, and mysteries, an infinite resort of disappointments and discoveries. A whole kingdom. where each of us reigns reclusively alone, questioning what we will, commanding what we can. A hidden hermitage where we may study out the troubled book of what we have done and yet may do. An introcosm that is more myself than anything I can find in a mirror. This consciousness that is myself of selves, that is everything, and yet nothing at all — what is it?

And where did it come from?

And why? [1]

In The Origin of Consciousness in the Breakdown of the Bicameral Mind, Julian Jaynes introduces us to a poetic series of questions about invisible visions and audible silences that explore consciousness. His introduction served as inspiration for the original performance on the staircase of Cukrarna – a building rich in history, where the walls have absorbed the sonorities of the fates of Slovene modernist writers.

The work is now presented in a new location, in Navje Park in Ljubljana. The sound performance transforms into an immersion into echoes of the past, as participants create a sonic landscape through walking, evoking stored visions from the park itself. In this way, all the surfaces of the park become instruments of the visitors, amplifying the silences. The work raises more questions than it answers, reflecting Jaynes’s idea of consciousness as an intangible realm of the mind.

The technical core of the performance involves a sound sensor, a software algorithm, and a digitised database of modernist poetry. Together, these elements create a complex sonic tapestry composed of layered sounds and the inner voices of the literati.

[1] The origin of consciousness in the breakdown of the bicameral mind, Julian Jaynes, Penguin books, 1990.

Half.monologue is political in content and partial in form, as the invited speaker is constantly joined and interrupted by others, leading to a broader discussion. Interventions are argumentative and may demand clarification, challenge the speaker to deepen or reformulate their position, express disagreement or approval, and ultimately question the speaker’s ontological and epistemological assumptions as well as the relevance of their political stance in the contemporary world.

The political monologue with interventions was a traditional format of the Blue Corner at the Autonomous Rog Factory. It used public space as a platform for articulating political positions, while participants actively co-shaped the event through vocal and argumentative interventions. The work reflects on the politics of historicising, archiving, and the layering of memories and forgetting within public spaces.

This series of lectures and peripatetic lectures explores listening as an ethical, ecological and political practice. The contributors examine listening beyond the human perspective, foregrounding relationships with more-than-human beings, spaces and sonic fields.

The lectures focus on rhythms and silences, field recording, ethical dimensions of listening, and ways in which listening can foster more caring and less extractive relationships with the environment.

Maja Bjelica: Poslušanje ritmov, poslušanje tišin
peripatetic lecture

The TO)potic presentation will focus on listening as an activity that resonates deeply in the field of ethics. We will not only ask about listening as a fundamentally ethical activity that enables the establishment of ethical interhuman or intersubjective relationships, but also about listening as a deeply connecting activity allowing for emerging ties with more-than-human beings and elements, which enables spreading of intersubjectivity far beyond the human.

An attempt to wording the described conceptual resonance of listening will be implemented through contemplative walks around the sound concepts or phenomena of rhythms and silences. Striving towards a horizon of posthuman ethics, the rhythms and silences will be explored in terms of their presence and absence, namely of their pulse, frequencies, vibrations. We will be asking about: how rhythms sound, how do silences? How are we listening to them? How are we experiencing them, how are we being-with them? Answering such questions will be attempted through contemplating (inter)subjective experience combined with a philosophical polylogue of thinkers of silence, rhythm and listening. Thinking about listening t(hr)o(ugh) silences and rhythms might allow the emergence of enriching reverberations for environmental (post)humanities as well, presented with the case study of salt-working at the Sečovlje saltern in Slovenia.

Miloš Vojtěchovský: About the Field (listening to the sounds we dismiss)
lecture

What are the animals that we are recording getting back from being in the piece that we exhibit for fee or recognition? How would we proceed when, instead of animals, we would be recording the sounds of humans? What else does the recordist or the listener learn about them besides that their sonic behaviour sounds “good” or “musically interesting”?

As a field recording practitioner, the author suggests discussing the potential impact of such activity on the objects or subjects interacted with, the so-called effect on the “fields.”

We are currently facing these issues in various aspects of human interaction with the environment. They include the ethical and ecological consequences of our “right” to mobility or our pursuit of “well-being” amidst environmental degradation. Musicians, not just them, often treat their gear and other organisms as instruments rather than recognizing them as collaborators with the agency.

If we aspire to be an integral part of ‘The Field,’ should we not approach it in a less extractive and colonialist way? This means we should (also) listen to the sounds that we do not want to hear.

Jacek Smolicki: Between Planetary and Situated Modes of Listening
peripatetic lecture

In this talk, the author proposes that in becoming more careful and caring sound makers, more emphasis must be placed on how we listen and are listened to. The talk will introduce several approaches to listening, technologically supported and unaided, each helping to reveal a different dimension of our shared environments.

How do we tune into the city? How do we recognise that the everyday soundscape of the city, enveloping us as we open a window or step onto the street, is in fact the longest and most enduring musical composition? How can we understand artistic practices of acoustic ecology and psychogeography that require active auditory awareness? How do we read and listen to such works, and how do we participate in them?

The educational programme unfolds alongside the TO)pot festival of radical soundwalks as a dedicated strand aimed at educating young people in auditory sensitisation and critical-poetic reflection. Participants listen to and document the festival programme, developing attentiveness and reflective awareness of the surrounding environment. The collective sound work produced by the participants is broadcast on Radio Študent.

Lectures within the workshop are given by Irena Pivka, Saška Rakef and Marta Medvešek.

Audio works by workshop participants:

• Lucka Zajc: Dovolj_1
• Filip Jelovšek: Topotornotopot
• Naomi Uma Zorman: mal zadihi
• Tadej Grum: Terapija za ušesa
• Ana Lorger: Pasivistka
• Veronika Rakovec: js pa ti feminist
• Lara Slekovec: Restart