Research Catalogue

This article weaves personal reflections upon the 1988 recording by Pauline Oliveros, Stuart Dempster and Panaiotis, entitled Deep Listening®️, with a story of Deep Listening, the lifework of Pauline Oliveros, in which the author refers to highlights in the history of as well as presents some of the foundational aspects of the praxis. Throughout this story of Deep Listening appears, in the form of audio and film material, the first track of the Deep Listening recording, “Lear”; Pauline Oliveros herself, leading a Deep Listening Session Masterclass during the Sonic Acts Festival XIV in Amsterdam in February 2012; and two examples of practitioners of Deep Listening who present and comment upon their work and approach. The focus of this article seeks to remain close to a “doing of”: a bodymind engagement with listening, responding, and creating in a way that reflects the practice of Deep Listening. A type of receptive listening, an inner opening to and following of the movements of the body-with-sound encounter, is presented here as “somatic listening.”

The research subgroup SPACES OF ARTIST EDUCATION focuses on exploring the relationships between artists’ pedagogies, educational spaces, and learning environments in artist education. The key interest of the subgroup is to investigate how different spaces influence, facilitate and regulate interaction, communication and ways of teaching and learning both at art universities and in non-institutional settings. The subgroup aims to gather colleagues from diverse artistic disciplines and research backgrounds to discuss the spatial, material, bodily, performative and institutional aspects of teaching art practice, as well as their connections with educational policies, relations of power, traditions of artist education, and the very ideas about pedagogy and didactics, mastery, knowing, art, creativity, resources, accessibility, space and place.