Hearing Condition as Audio Filter

Kornelia Bloch, Holger Schulze & Alexander Tillegreen:
Hearing Condition as Audio Filter:
A Listening Workshop and Experiment


Room A116
Leo Mathisens Vej 1
1437 Copenhagen


Thursday, February 23rd, 4pm


registration on the venue’s page (scroll down!)


Is your way of experiencing sound the only possible way? Have you wondered if the person next to you might be perceiving the current sound environment and its sound sources in a completely different way? Have you ever tried to discuss these differences and perhaps understand them a little better?

Kornelia ​Błoch, currently a visiting researcher at the Sound Studies Lab ​at the University of Copenhagen, asked four listeners, living and sensing under different hearing conditions, for their audiograms: a chart that shows the hearing thresholds for certain critical tones. Sound artist Alexander Tillegreen then created pieces of music that move within these perceptual models: inspired by these four radically different hearing conditions and with additional support from Christian Brandt, clinical researcher in audiology at the University of Southern Denmark and with software from Eriksholm Research Center.

In this two-hour experimental listening workshop, we will keep changing the audio settings for Tillegreen’s musical pieces: so you can experience the sound through another person’s ears, cochlea, and sensorium.

If you are a participant, you will be asked to take notes or draw your sound experience during this listening session.


Further reading

Chion, Michel (1994): “Modes of Listening”, in: Chion, Michel (1994): Audio-vision: sound on screen. Edited and translated by Claudia Gorbman, with a foreword by Walter Murch, New York: Columbia University Press,p. 25-34.

Dye, Michael (2014), “Seeing the World through Deaf Eyes”, in: “Deaf Gain : Raising the Stakes for Human Diversity”, edited by H-Dirksen L. Bauman, and Joseph J. Murray, University of Minnesota Press, p.193-210.

Johnson, James H. (1995): Listening in Paris: A Cultural History, University of California Press, p. 228-236, 270-280.

Kassabian, Anahid (2013): Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity, University of Minnesota Press, p. 1-19.

Maus, Fred Everett (2013): Classical Concert Music and Queer Listening, in: Transposition 3 (2013) (online: https://transposition.revues.org/148)

Nardi, Carlo (2016): “Critical Listening”, in: Papenburg, Jens Gerrit & Schulze, Holger, Sound as Popular Culture, MIT-Press, pp. 395-401.

Sterne, Jonathan (2021), “Audile Scarification: On Normal Impairments”, in “Diminished Faculties: A Political Phenomenology of Impairment” Durham, NC: Duke University Press.

Stockfelt, Ole (1997): „Adequate Modes of Listening”, in: Keeping Score: Music, Disciplinarity, Culture, edited by David Schwartz, Anahid Kassabian and Lawerence Siegel, Charlottesville: University of Virginia Press, p. 129-146.

Truax, Barry (1984): “Listening-in-search and Listening-in-readiness”, in: Truax, B. (1984): Acoustic Communication, Norwood/NJ: Ablex Publishing Corporation, p.19-20.