Dance between Skin and Ear : Reflections on Soundwalking

Sound practises appear in public space in many formats, for example, from architecture that can be listened to or activated such as Lukas Kühne’s Tvísöngur work, to hidden speakers that emit sounds such as Max Neuhaus’s Times Square piece. But what about listening practices? How might they appear in public space? And how does the practice of them impact and interact, effect and affect public space (and all that might go on in that sphere)? And vice versa? What possibilities might a listening practice open for embodied sonic practices in public space? Starting from the practice of soundwalking as an immersive participatory and ambulatory public art practice, this artist essay reflects on some of the processes, events and outcomes that happened during several soundwalks I have hosted in the last few years.