Sandra Volny Hydrophonies : écouter, enregistrer et penser les mondes aquatiques
© Sandra Volny, Resound Kefalonia avec Sound and Space Research, Ionian Center for the Arts and Culture, 2018
This training course offers an introduction to the practices of listening to and recording aquatic environments. Through the use of hydrophones and other types of microphones, participants will discover different approaches to sound recording in natural or controlled environments while exploring the artistic, ecological, and sensory dimensions of listening.
Combining theory and field experimentation, the course will address the history of soundscapes, the ecology of listening, and the relationships between sound, water, and the environment. Participants will be invited to develop a critical reflection on ways of listening to, representing, and translating aquatic worlds through their own artistic practices.
By the end of the training, participants will be able to:
- Use hydrophones and microphones suited for recording in natural or controlled aquatic environments;
- Understand the technical principles related to capturing and broadcasting sounds from water;
- Situate sound art practices within the history of soundscapes and the ecology of listening;
- Integrate listening and sound capture practices into their artistic practice;
- Reflect on the aesthetic, technological, and ethical issues related to recording aquatic environments.
The cost of the training is $80 plus tax. Please note that the training will be conducted primarily in French.
This training program is made possible thanks to the financial support of the Quebec government, via the Intervention-Compétences program, managed by Compétence Culture, and REPAIRE.
© Sandra Volny, Resound Kefalonia avec Sound and Space Research, Ionian Center for the Arts and Culture, 2018
Sandra Volny holds a Ph.D. in Arts and Art Sciences from the University of Paris 1 Panthéon-Sorbonne and is an artist, researcher, and educator. Through installations, videos, instruments, collective experiences, and performative journeys, she combines listening, scientific research, and fieldwork to reveal structures inaudible to the naked ear. She uses water as a medium of transduction, facilitating a transition not only from one state to another, but also from the tangible present to a form of existence beyond our immediacy. Her work has been featured in solo and group exhibitions, notably at Ars Electronica (Austria), Fondation Phi, Fonderie Darling, Musée d’art de Joliette, Dazibao, Galerie Michel Journiac (France), Ionion Center (Greece), Centre Clark, and Raumlabor-267 (Germany). His works are included in public and private collections, including those of the Montreal Museum of Contemporary Art, Hydro-Québec, and Majudia – Arsenal art contemporain.
Fili 周 Gibbons (we/they) are a musician and sound engineer of mixed Chinese and Canadian ancestry based in Tiohtià:ke / Montreal. Their artistic practice is a synthesis of cello performance, audio creation, embodiment, and traditional memory systems — employing these as potencies for the expression of plural identities, and the transmission of cultural memory. Drawing from many years of practice in cello performance, improvisation and audio production, they frequently collaborate across genres with artists from Canada and abroad (Devon Bate, Paloma Dawkins, Yaya Diallo, Rajni Shah). Deepening their connection to sound further through recording studies (M. Mus, McGill University), they continue to explore audio practice through interdisciplinary collaborations, and community-oriented sound projects.
