HOW ARE WE?
LESSONS IN PAYING ATTENTION
This project repurposes methods from musicology, structural acoustics and acoustic ecology, and leverages them toward a polticized understanding of space. Past iterations include critical geographies of the WTO headquarters in Geneva, the Boeing headquarters in Chicago, the underground rivers and ancient foot trails around Sulfur Springs in Tampa. This project is part of an on-going practice that engages with listening as a shared, communal and critical practice. In a public workshop on Saturday, October 2, we will use guided listening exercises to experiment with critical geography. We will then return to the gallery and map out our experiences. My own interests revolve around the relationships between attention, space and power – however the direction of our collective investigation will be determined by participants’ interests and critical responses. Each participant will receive the workshop booklet as a take-home unfinished work, which they are invited to continue as relevant to their own practice.
My interest is in exploring the tensions between different modes of knowing, different ways of making sense of the world. This involves intellection, analysis and language, but making sense (as in sense-ing) also refers us to perception, affective capacity, to knowing through the body. How does sense-ing involve an apprehension of the world, but also an action upon it? How is this process internal, the manifestation of the world in our bodies as sensation, as well as intersubjective – relational, communal? Is this process ever done? For me these are political questions; they refer to the production of subjectivity and of dominant cartographies, but also to collective capacities of knowing and imagining that have radical transformative force.
Rozalinda Borcilă is an artist and writer currently based in Chicago. She has been teaching listening in university programs, social centers and free schools in the U.S. and Europe. Her work deals with power and daily life, and has been exhibited/published internationally. However, much of her practice withdraws from the exhibition form. She also works within several self-organized and autonomous projects, such as Compass Group, Mess Hall in Chicago, 6Plus (working largely in the Occupied Territories of Palestine), BLW and the Center for Getting Ugly.