Personal Information
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Given name: Martina









Surname: Raponi









Email: martina.raponi@noiserr.xyz









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Your contribution
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Title: Listening and Sounding at an Angle









Format: Poster presentation (6)









Main language: English









Abstract:
Sound is immersive and distributed. In distinction from visual stimuli, it works on us through a range of sensorial channels. In its rich vibrational embodiment it affords the construction of unique epistemologies (acoustemologies). What methods do we have with which to develop these ways of knowing through sound? What happens when our strategies fail us, when we encounter only silence? What can such moments of sound’s apparent failure teach us about relationality and coexistence?
Our poster visualizes and sonifies our complementary projects: listening with other-than-human entities, and acknowledging Deaf sound practices within sonic discourses. We each find ourselves at an angle to norms of listening, because we meet silence, or an unheard. How can sonic practices test the elasticity of perceptual and conceptual frameworks, how can we create a critical vocabulary that acknowledges the language of ecosystems and sign languages as generative of new relational spaces of non-cochlear attunement? We investigate the value of vegetal silence for confounding listening assumptions. Plants do not communicate with sound that we can hear, and sound artists often resort to translating other data into sound. But what if we work instead with the interspecies silence as an active presence and allow it to be a paradoxical catalyst for more complex co-creation? Could it help us attune more deeply to an ethics of care, restraint, and multimodal responsiveness to ecological contexts? Deaf sonic practices challenge the presumed cochlearity of listening and sounding; they call for the widening of our analytical and sensorial tools to describe and appreciate the sonic knowledge that is produced outside the thresholds of audibility. How to account for sound practices that preferentially utilize language as a basic compositional tool? How can we redirect the “negative potential” of sound as “what is known by exclusion”, without reaffirfirming normative and audist epistemes?










Image: https://test.sar2026.ie/system/files/webform/submit_contribution/236/listening%20and%20sounding%20at%20an%20angle.png









Short biographies of the presenter(s):
- Prof. dr. Rachel Beckles Willson has a hybrid professional arts practice as an audio-visual artist and composer, performer and widely-published scholar. Her current research interests lie in relationships with the other-than-human, and the development of sustainable multi-media technologies. She is now Professor of Performative Art Research, Sound, and Society at Willem de Kooning Academie in Rotterdam, and the Academy of Creative and Performing Arts (ACPA), Leiden University.
- Martina Raponi is a writer and an artist researching noise and the unheard. She is the author of  “Psofotopias. Noise: Sounding Out the Unheard,” in 2025. Martina is part of the Noise Research Union, teaches at the Willem de Kooning Academy in Rotterdam, and is a PhD candidate at ASCA (UvA).










Previous presentations or iterations of the research:
We are currently developing the content of the proposal into a poster visualization connecting our two lines of artistic research, alsongside the development of a lecture performance.














Requirements
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Additional information:
The poster will be accompanied by a soundscape that will be accessible via QR code, unless the opportunity of installing a small speaker is granted.










Spatial and technical requirements :
The poster will be A1 (around 60x85cm), unless there are specific guidelines that should be followed--in which case, we are happy to resize the print.











Potential risks or ethical concerns:
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