Over time, I’ve encountered a series of sound-based experiences that have shaped my interest in listening as a designed practice.
In Berlin, I visited MONOM at 4DSOUND, a space with almost no visual distraction — just brutalist architecture and minimal lighting. The sound system and the DJ became the main focus, creating an immersive spatial experience where listening felt physical.
I also explored Cosmos Studio, where experimental music is combined with breathwork, stretching, and automatic journaling. Here, listening was guided supported by the body and reflection.
In London, I attended Embodied Sonics by Laima Leyton at 180 Studios — a deep listening session inspired by Suzanne Ciani’s A Sonic Womb. The experience brought together experimental sound, spoken word, and collective listening, creating a shared space for attention and presence.
More recently, I came across the work of Daniele Carcassi, particularly his Totem of Loudspeakers — sculptural, multi-channel sound systems that merge spatial audio with a strong physical presence.
These experiences make me wonder:
Are these emerging formats of listening a response to something larger?
At a time shaped by algorithms, acceleration, and constant stimulation, where music is often consumed passively and endlessly, these spaces seem to propose something different: curated, guided, intentional, and researched.
Perhaps they are not just artistic expressions, but contemporary responses to a growing need:
to break away from automated consumption, and to reclaim listening as an active, conscious practice.