Last year I invited Kim Cascone to the university for one of his Dark Stations concerts. Dark Stations is a 42-minute piece for a meditating audience based on a 3.1 diffusion system: the listeners sit in darkness within a triangular speaker array, a sub-bass speaker in the centre. The performance last year was one of the most interesting audio experiences I’d had for some time, culminating in a profound experience of auditory pareidolia: frequencies and room acoustics meshed to form phantom speech that I found it impossible to disassociate from the voice of my (then unborn) son, Lovernios.
I was pleased to be able to invite Kim back this year for a reprise of Dark Stations, preceded by a two-day Subtle Listening workshop. The workshop, subtitled “Inner Ear Training for Sound Artists” takes a highly reflective approach to sound, sound design and composition, designed to take participants beyond the technical ‘how to’s that education in music technology and production often dwells on, and toward a more creative, intuitive relationship with sound and what might be called, to coin a term in academese, ‘the sonic imaginary’, or possibly more accurately ‘imaginal acoustics’.