úúú: HABITAT II

What is the relationship between a person and the sounds of their environment? What happens when these sounds change? Answers are emerging from new artistic practices and forms that have appeared in recent decades within the field of sound art. One of these is the sound walk — a soundwalk — which leads a walking, listening audience directly into the environment itself. The soundwalk by John Grzinich, an American artist living in Estonia, at úúú: HABITAT II will invite the audience to listen to not one but two environments that we rarely perceive in mutual interaction — the macroworld of us, human beings, and the microworld of the oldest sounding creatures on earth: insects.

One of the starting points of acoustic ecology is the claim that the way an environment sounds can tell us a great deal about how it is faring. Environments are not passive containers, but rather invisible, active processes. One such process — change — is the subject of a performative essay by Eva Vozárová about a new sound that appeared in the summer soundscape of Bratislava a few years ago.