Report: »Time to Listen« 2024

Dear Readers,

It is with great joy that we look back on the third edition of our symposium “Time to Listen”, which took place on October 1 and 2, 2024, in Berlin. Hosted at the Akademie der Künste in the Hansaviertel, musicians, artists, composers, and thinkers gathered to discuss sustainability in contemporary music. Over the course of two days, the symposium offered a varied program featuring around 20 sessions, including workshops, open discussions, panel talks, lectures, listening sessions, interventions, improvisations, installations, and concerts. We were especially delighted that the symposium was not only a forum for presenting projects and concepts but also a lively space for exchange and networking.

The program included both sessions selected from an open call and spontaneous discussion rounds in an open-space format. Participants were encouraged to actively contribute their ideas, an invitation that was enthusiastically embraced, further strengthening the collaborative spirit and self-determined structure of the symposium, and enriching it with additional thematic facets.

At the 2024 edition of “Time to Listen,” the overarching theme of sustainability was concretized through the concept of “climate (in)justice,” a central aspect of the current sustainability debate. At its core, climate justice addresses the profound injustices embedded in the climate crisis, advocating that environmental sustainability must consistently integrate social equity. While the climate crisis is a global issue, its impacts are not borne equally: countries of the “Global South” bear the brunt of environmental changes, and marginalized and discriminated populations have fewer resources to adapt to the climate’s effects. In this intersection of environmental responsibility and social justice, the conference revisited themes from previous symposia on decolonization and diversity in new music, furthering these critical conversations. 

The conference contributions revolved around central questions: What responsibility does music bear in the context of the climate crisis, particularly from a global perspective? What role does sound play in our understanding of being human, how does conscious listening shape our perception of the environment, and to what extent can listening serve as a framework to move beyond an anthropocentric perspective? Can deep listening help us rethink our relationship with the planet? How can music be used to highlight inequalities and raise awareness of the massive damage to natural and social systems? What climate-ethical considerations arise in curatorial practices? Ultimately, the fundamental question was: How can we negotiate, through sound, how we want to live together – and who is included in this "we"?

In recent years, we have increasingly witnessed how deeply the climate crisis has embedded itself in the artistic practice of contemporary music. A broad and creative field of sound aesthetic approaches has long since emerged, in which composer, musicians and sound artists engage with themes of ecology and the climate crisis in various ways. They reflect on the challenges of the climate crisis both practically – regarding how music is produced, presented, and received – as well as conceptually. Some take a direct, at times activist approach, aiming to use artistic means to draw attention to injustices or raise awareness. Others pursue a research-driven approach, conducting artistic research, collaborating with scientists, or making complex, often abstract scientific findings tangible through artistic expression. For others, engaging with the environment and its sounds serves as one of many sources of inspiration, subtly weaving its influence into their work. Whether activist, scientific, poetic, or entirely different in nature – the conference provided a space to present, reflect on, and exchange these diverse approaches.

Sustainability has long been a central concern for the Akademie der Künste and the field notes program of the initiative neue musik berlin e.V. In his welcome address, Manos Tsangaris, composer and president of the Akademie der Künste, referred to climate change as the academy's key theme in 2023—an issue that will continue to play a crucial role in the future. "What can the arts do in general?" he asked, providing a possible answer himself: "It is time to finally listen properly."

field notes is also committed to embedding sustainability throughout its entire program. In addition to the conference, practice-oriented workshops throughout the year further enrich the program, focusing on concrete questions and solutions for a sustainable artistic practice.

A specialized jury, consisting of Amanda Gutierrez, Néstor F. Martínez, Tania Rubio, Iris ter Schiphorst, and Sabine Vogel, helped select the presentations from over 80 submissions. Special thanks go to all participants, who contributed their perspectives and ideas with enthusiasm and openness, enriching the content and planning of the conference.

We also found the diverse composition of the participants enriching. Many artists, curators, and scholars return every year, which has led to the creation of an open network. At the same time, new music creators from different countries and disciplines have joined, bringing fresh perspectives and questions. Overall, the theme for 2024 also attracted many international artists living in Berlin, resulting in a very fruitful blend of new impulses and thematic continuities, for which we are very grateful.

We look forward to continuing these vital conversations and exploring the intersection of music, sound and sustainability in the years to come. 

Lisa Benjes and Julia Gerlach

Peter Cusack: “Listening to Climate Change and Making Music Through the Window” (Listening Session, Introduction)

Listening lies at the heart of Peter Cusack's artistic work. He explores the sounds of diverse environments, examining how human influence shapes these sounds, how they change over time, and what insights might be drawn from them. 

Since 2012, one of his ongoing projects has been observing sonically the backyard from his apartment in Berlin’s Prenzlauer Berg neighbourhood, an approach that he refers to as "sonic journalism." Cusack documents the sounds of this urban microcosm through field recordings, listening back and analysing the changes. Through careful listening and attention to detail, he has identified shifts in the soundscape that can be traced to climate change. For example, certain bird species, that would typically migrate south for the winter, now remain in northern Europe due to the warmer temperatures. Berlin lies under the migration route of the European Crane (Krannich). Flocks of these birds can be heard calling over the city during autumn and early spring as they fly to or from heir wintering grounds in Spain. Today, however they are also be heard during Christmas and mid-winter showing that they are still here at this time of year and no longer making their traditional migrations.

However, these changes don’t always result from global climate patterns; for instance, landscaping changes in the backyard have discouraged bees from visiting the yard in summer. Cusack shared his findings of these sonic consequences with session participants by presenting and contextualising Field recordings and photographs of his backyard.

According to Cusack, these sonic shifts are already so extensive in themselves that musicians working with field recordings can draw a variety of conclusions for their own work. He has decided to interact with his recordings as little as possible in post-production, using them instead as a foundation or as elements within compositions. He suggests that artists should consider doing less and avoid necessarily commenting musically on the sound of the environment. Instead, Cusack advocates expanding listening practices and cultivating a new sensitivity to sound. “There is enough going on sonically already.”

The deliberate focus on a local sound situation, which allowed the symposium participants to engage sensitively with the acoustic events in the courtyard and the micro-contexts present there, introduced the topic in a special and exemplary way. 

Danish Climate Network: “Unrelated Narrations Within Sustainability” (Participatory Workshop)

In 2023, the think tank comprising the six artists Samuel Hertz, Tania Rubio, Marina Cyrino, Eduardo Abrantes, Miguel Angel Crozzoli, and Heðin Ziska Davidsen, was established through the initiative of Art Music Denmark, the Danish Composer’s Network, and the Time to Listen conference (inm/field notes and AdK). Its purpose is to reflect on the climate crisis in general and the sustainability of artistic practices in particular, addressing these themes through interventions, sessions, and workshops at events and conferences (see also “Time to Listen” 2023). 

In their participatory workshop “Unrelated Narrations Within Sustainability”, the artists began by placing the participants at the center, mapping their initial perspectives on engaging with sustainability in art across the broader concepts of “Aesthetics,” “Politics,” and “Economics.” Each group was then introduced to additional terms, such as “Globalism,” “Technology,” “Global South/North,” and, finally, the more specific theme of “Sustainability.” Did the participants’ starting points change with the introduction of these new parameters?

A lively discussion quickly emerged, with participants sharing diverse perspectives. Some agreed that the political dimension was particularly important and should also influence artistic practice. Others, however, challenged this prioritization, advocating for equal consideration of all approaches in the room. One participant referenced Peter Cusack’s argument that artists might do well to do less, or even nothing at all. The climate crisis, they noted, is comprehensively documented, and this “satisfaction of data” provides numerous entry points for artistic exploration. Despite its global scale, sustainability must also be reflected upon and acknowledged personally and internally. But what, after all, does “sustain” in “sustainability” actually mean? This question, posed by another participant, introduced intriguing musical perspectives. The relationship between “sustain” and “decay” also opened new avenues for thought.

Jorge Zurita Díaz: “Emerging Nodes (flows from hydro-activism)” (Workshop and Video)

Mexican composer and sound artist Jorge Zurita Díaz works at the intersection of instrumental music, sound design, and electroacoustics. His work bridges various concepts and organological materials, such as mapping computer data using software tools like Supercollider and contrasting these digital sounds with the timbres of acoustic instruments or found objects. 

In his workshop, he presented the project “Emerging Nodes”, which he undertook in 2023 in collaboration with the environmental collective “The Colectivo Humedal”. This collective is active in the San Pedro Cholula area, opposing the privatization and draining of wetlands, a practice with massive repercussions on Mexico’s already fragile ecosystem. Together, they worked on restoring wetland areas, documenting the process in audio and video. These restored wetlands not only support the preservation and strengthening of the endangered ecosystem but also function as musical instruments. Jorge Zurita Díaz believes that sound, as an engaging medium, has the potential to bring people together and motivate them to take action.

Participants in the workshop were invited to bring their own instruments or use objects provided by Zurita to create sounds in accordance with the projected film score, thereby adding another participatory dimension to the project.

Futures of Listening: »Curating Water Knowledge« (Listening-Session und Diskussion)

What can we learn when we listen to the water? This is the question addressed by the project "Curating Water Knowledge." The results are impressive and provide profound listening experiences.  How do we listen to the water? What stories do such listening experiences tell, and how has our relationship with the water changed over the years? Most importantly, what kind of possible futures can we imagine with the water through such listening?

The initiator of the project, Suk-Jun Kim (University of Aberdeen), together with his partners from Transients (South Korea), composer and sound artist Jiyoung Yoon and Yeabon Jo, presented the project’s approach—how connections are analysed using maps and sounds, and how knowledge is exchanged between various partners (including those in Istanbul). They also shared initial results and sounds. Van Luber Parensen and Helmi Yusron from Forum Lenteng/Sigisora in Jakarta joined the workshop via video call.

"Futures of Listening" is a sound studies/art and research initiative cantered on the question of how our listening habits will change in the coming decades. Launched in 2023 in collaboration with the National Asian Culture Center in Gwangju, South Korea, it contextualises this question through four themes: Listening to Others, Listening to Climate Change, Listening to the Urban-Rural Divide, and Listening in the Era of Artificial Intelligence. In its first year, the project has focused on the first three themes in partnership with Forum Lenteng in Jakarta, Indonesia, where initial fieldwork was conducted to explore these themes through the lens of water. Their session provided a work-in-progress report on their ongoing project. 

Water is not only a symptom of climate-related crises, such as rising sea levels, frequent freshwater flooding, or the depletion of underground water causing land subsidence, but it is also a key driver of micro- and macro-level socioeconomic and geopolitical transformations in Indonesia. Their premise is that listening to water and local water knowledge from the past and present, and imagining how such listening will change in the near future due to climate change, will offer new perspectives on examining climate-related issues, specifically climate (in)justice.

The initiators focus on two regions in Indonesia: Kampung Kalibata Pulo in Jakarta and Rangsot in North Lombok. These two locations, exhibiting drastically different social, cultural, and economic features, nonetheless converge on the sound of water. For decades, Kampung Kalibata Pulo has been a centre for home-based garment industries in Jakarta, where the roar of sewing machines, the rippling of a shallow river, and the bustle of crowds in an urban village create a soundscape of urban transformation without spatial planning. In contrast, Rangsot, located two islands away from Java, has historically been considered a dry area where local residents have always borrowed water from neighbouring hamlets. The river in Rangsot is known for its intermittent flow, which raises questions among residents about its nature, whether it truly twists and turns like a dragon’s back, sometimes appearing above ground and at other times flowing underground.

This contrast offers us a fascinating comparative sound study on local water knowledge that transforms and is transformed by the communities' relationship, be it clash or negotiation, with water as nature, culture/spirit, resource, and governmental policy. 

The presenters posed the questions: How can we not only listen to but also respond, as listeners, to water knowledge? Can this responsible listening, offered in return, lead us to a rhizomatic field in which ecological, societal, and supra-ideological sustainability can be imagined? What curatorial tactics or processes (not methods) are involved in this listening? 

The collective proposes first that knowledge is not only that which has been established through the accumulation of facts or proven truths, but also that which flows and moves, emerging or disappearing through forgetting, and can be revitalized through remembering. Second, the curatorial practice they highlight in their project emphasizes a sincere form of curation, not merely selecting, organizing, and protecting, which assumes that curated subjects are always objectified, but rather caring with empathy, acknowledging that the water knowledge we choose to listen to may always overflow or manifest elsewhere.

hany tea und Cavid Dhen “rice as food as politics” (Performance)

The duo of hany tea and Cavid Dhen presented the electroacoustic live performance "rice as food as politics," which explored the complex interconnections of climate justice, global entanglement, cultural identity, and environmental degradation. Using electronic sounds, woodwinds, poetry, sampling, field recordings, and the Vietnamese đàn bầu, the two musicians combined traditional and contemporary sound practices. At the heart of the performance stood a rice cooker fitted with sensors and speakers, transforming its functioning into an integral sonic element of the experience. Inspired by June Jordan's poem "Focus in Real Time," in which the Black feminist poet describes a bowl of rice as “food / as politics,” as labour, commodity, and care, rice, which has a significant but often overlooked impact on the climate, served here both as a cultural and ritual symbol and as a starting point for reflection on sustainable consumption and global consumer needs.

After 30 minutes of performance, the cooker delivered perfectly steamed rice, which was then shared with the audience, which was particularly appreciated given some issues with the catering. 

Nico Daleman: “Cancelling Noise” (Listening-Session and Discission)

Noise cancelling, the suppression of “noise”, is considered one of the greatest technical achievements in the history of headphone technology. But who defines what constitutes “noise,” what is bothersome, and therefore not important, that can or even must be removed? What is noise? Do cultural differences play a role in this decision, and is this now established technology further evidence of the aesthetic dominance of large tech companies?

“Cancelling Noise” is an artistic research project by Nico Daleman that examines the use of noise reduction technologies as sonic material. The work investigates how digital algorithms in headsets and video conferences influence our listening behaviour and distort the sounds of our environment. Daleman uses the sonic remnants of these algorithms – clicks, pops, spectral distortions – to develop alternative listening practices and renegotiate the boundaries of what is considered “noise.”

Through field recordings from cities such as Berlin, Bogotá, Mexico City, and Istanbul, Daleman reflects on cultural differences in dealing with noise and questions the unconscious biases of algorithms concerning race, gender, class, and physical abilities. In this context, sources of noise such as traffic and electromagnetic emissions are analysed to explore social relationships between human and non-human actors in the city. Unlike conventional sound cleaning methods, Daleman’s research aims to recognize noise as an integral part of our sonic environment and as a reflection of the political present, asking: “Who has the right to silence?”

Nico Dalemans Radioshow on Cashmere

Banu Çiçek Tülü: “Inundated: Speculations on Water as a Site and a Paradigm” (Lecture and Performance with Live-Electronics)

In her hybrid presentation between lecture and performance, Banu Çiçek Tülü explored the curatorial implications and challenges posed by climate change and the pursuit of sustainability. 

Tülü argued that documenting life during a crisis through music and sound can create a more inclusive approach, as sound transcends language barriers and allows for the expression of experiences that might otherwise be overlooked. By incorporating sound, Tülü proposes a method to bridge gaps between local and global challenges, fostering awareness, dialogue, and collective action, especially in the context of marginalized communities affected by climate change.

A key part of her presentation was the metaphor of "inundation" (flooding), which she used to highlight the importance of water as both a universal concern and a politically charged issue in her homeland, southeastern Turkey. In this region, decisions surrounding water, such as dam construction, are deeply intertwined with political, social, and ecological implications. Tülü highlighted how water, though fluid and essential, can be controlled, manipulated, or blocked by those in power, often with far-reaching consequences for local communities. She referenced the work of Akinci and Tan, who argue that the construction of infrastructure in border regions, such as dams, can function as a form of ecological legitimization for political and economic control, displacing communities and changing agrarian economies.

Tülü also questioned how art, particularly through sound, can address these complex issues and shift narratives around sustainability and environmental justice. She presented artistic approaches to engage with water-related sustainability problems and the socio-political impacts of dam building, particularly in marginalized areas like southeastern Turkey and Northern Iraq. By using sound to express these issues, Tülü hopes to challenge the top-down decision-making processes and encourage a broader, more inclusive discourse on the future of water resources and their impact on local communities. The goal is to raise awareness of the socio-political effects of infrastructure projects, such as dam construction, and their long-term implications for both the environment and the people living in these regions.

Through her work, Tülü aims to create a space for dialogue around the manipulation of bodies and environments, questioning how these manipulations can be represented and how the inclusion of marginalized voices can change the discourse on sustainability. 

Open Panel Discussion: "Best Practices and Pitfalls in Collaborations Between Art, Society, and Science in Intercultural Contexts"

This panel explored how artistic projects at the intersection of art, society, and science can serve as bridges between diverse communities and scientific research, fostering mutual understanding and innovative approaches. Key themes included ethical storytelling, navigating cultural differences, and ensuring equitable participation. Using practical examples, strategies and methods were presented to create inclusive and impactful collaborations that respect all voices involved. Challenges such as power imbalances and communication issues were also addressed.

The panel featured contributions from composer Beltràn Gonzalez; Claudia von Hasselt and Nicolas Wiese (Frau von Da//); Adnan Softić and Nina Softić (Klimaton); Karen Power (composer); and Suk-Jun Kim (Sound Artists and Futures of Listening). These speakers, all with significant experience with projects at the intersections of art, society, and science, presented their specific projects and engaged in discussions with symposium participants.

A central question was how artistic projects can be designed to respond to specific climatic changes in certain regions, spark the interest of local communities, and actively engage them. The discussion highlighted the potential of art to act as a bridge between communities by fostering mutual understanding and empathy. Art can also draw attention to unfamiliar topics and present scientific research in compelling ways.

Sound and music, in particular, were emphasized as powerful mediums to make complex processes tangible and understandable. Examples ranged from underwater field recordings of the Oder River through the cooperation with aquatic biology institutes (Frau von Da//) to the construction of a synthesizer that translates data from the Arctic "MOSAiC" expedition into music (Klimaton). The more accessible the outcomes of such projects are, the greater their resonance. A participatory approach is crucial; for instance, conducting field recordings collaboratively with local communities and discussions rather than presenting them post-completion fosters deeper local engagement with environmental issues.

The panel also stressed the importance of looking to the Global South for inspiration in adopting new methods and approaches. Communities in these regions have long confronted disasters and developed artistic responses to challenges ranging from climate change to colonialism. Regardless of the specific format or function of individual projects, collaboration among all stakeholders can generate unique synergies, both technical and aesthetic, while valuing and incorporating local knowledge and expertise.

Kirsten Reese “Climate justice learning and teaching” (Workshop)

In her workshop, composer, sound artist and university lecturer Kirsten Reese shared her current approach to teaching climate change, climate justice, and sustainability in the context of higher education, especially with students who are studying to become mediators within society - artists, social professionals, and educators. She emphasized that the methodology of such seminars is very much intertwined with the content and that it is grounded in learning from each other and sharing experiences, emotions and knowledge. Reese teaches at institutions such as the Berlin University of the Arts (UdK) and also at the Catholic University of Applied Sciences, where the students study to work with people who are affected most by the impacts of climate change, but whose life circumstances often leave little room for awareness of sustainability issues. Furthermore, the students have to deal with the impression that for for today’s youth, climate change and the climate crisis seem to have become less pressing concerns and with the rise of backlash tendencies in societies worldwide. 

Reese shared a pedagogical framework and 13 key points as "insights" (see PDF) that evolved from the experience of the seminars, focusing on core questions such as: “What is going on? How can we respond? What questions do we need answered? How can we be inclusive as well as advocates for others? What role can art play?” These steps highlight the role of knowledge acquisition and dissemination in fostering personal commitment while maintaining a broader perspective. The process involves locating individual possibilities, active listening, critical analysis, developing expertise, drawing conclusions and “listening closely to the world.” By synthesizing these insights, participants can formulate their own approaches. Projects by groups from various seminars were shown as examples of these aesthetic or activating approaches. Art, Reese argued, plays a vital role: It provides an alternative "language" that can reach and inspire even those who feel disengaged or overwhelmed. 

Kirsten Reese, composer and sound artist, creates works in relation to the acoustic biosphere and Technosphere. As researcher and educator, she focuses on diversity and specificity (technological, social, ecological) in the sonic arts, sonic ecologies and agency, sound perception, and translation and transformation processes.

Alejandra Borea: »Sound recycling: (aesth)ethics of sampling« (participatory talk and collective listening exercise)

Ale Borea is a Peruvian percussionist and sound artist based in Berlin. She holds a master's degree in Philosophy, focusing on the phenomenology of listening. 

Her workshop was based on recent personal research into a phenomenology of sampling practices. The main aim was to critically analyze and discuss the possibilities of sound recycling through the practice of sampling, and to question this parallelism (sampling = recycling = sustainability) in order to further explore its aesthetic and ethical implications in creative practices. The three thematic axes were: 

1. the phenomenology of marginal sonority and recording processes, 
2. the exploration of the potential of sound to create possible sound worlds, inspired by the proposal of Salomé Voegelin and Kwodo Eshun, and 
3. an approach to sampling that opened doors for a so-called “entelechy” of sampling, that is, an exercise of vitalist post-anthropocentrism by sonic imagination that unfolded sound fragments. 

This discussion allowed participants to rethink and re-signify the concepts of (re)source, (an)archiving and anarchy, postmemory, and sonic ecologies.

Café Climate | European Alliance of Academies

As part of the conference, another edition of Café Climate took place, an initiative by the European Alliance of Academies. In a relaxed, café-like setting, participants came together to address pressing questions and potential solutions to the ecological crisis. The focus was not solely on economic perspectives but on an approach that viewed climate change and sustainability through a concrete, cultural, and broadly political lens.

The thematic focus revolved around how individuals and communities can contribute to the necessary transformation. How can our societies and ecosystems adapt to the impacts of climate change? And how can we collectively work to preserve our environment—including the already threatened temperate climate?

The discussions were enriched by a high-profile panel that included members of the European Alliance of Academies, such as composer Iris ter Schiphorst, writer Cécile Wajsbrot, and artists Jovana Popić and Petja Ivanova. Additionally, invited experts like composer and author Bernhard König, architectural researcher Alexandra Nehmer, cultural researcher Dr. Carla J. Maier (with a focus on sound and listening), and journalist and activist Eckhard Roelcke (a member of the group Letzte Generation) also participated.

The conversations, held in both German and English, provided attendees with an opportunity to actively engage in topics such as climate justice, cultural responsibility, and sustainable solutions. It was a vibrant dialogue that highlighted the importance of interdisciplinary exchange in the face of the climate crisis.

Café Climate is an initiative of the European Alliance of Academies, founded in 2020 by 70 art academies and cultural institutions across Europe to stand up for the freedom of art.

For more information, visit: www.allianceofacademies.eu.

Eva von Redecker: Bleibefreiheit (Keynote)

At the start of the second day of the symposium, philosopher Eva von Redecker presented ideas from her book “Bleibefreiheit” ("The Freedom to Stay"), in which she explores the concept of freedom. Her reflections begin with the observation that the concept of liberal freedom is increasingly fragmenting. Freedom is often misunderstood, and actions supposedly in its name are manifesting more frequently in acts of violence. Since the pandemic, "freedom" has become a loaded term, and today, even necessary changes to address the climate crisis are often perceived as infringements on personal freedom.

In “Bleibefreiheit”, von Redecker describes the freedom to stay as a new form of freedom. This freedom encompasses not only the right to remain in a chosen place but also the right to a life of dignity within a stable and liveable environment. This perspective is especially significant in the context of climate change and global migration, as those who have contributed the least to the climate crisis are often the ones most affected by its consequences, forced to abandon their homes.

The author advocates for a new understanding of belonging and solidarity that transcends national borders. She draws parallels with the philosophy of freedom and the concept of "the right to stay," though understood here not in a national sense but rather in an existential and social one. “Bleibefreiheit” thus proposes a political and philosophical reorientation in which the possibility to remain in a familiar and safe environment is recognized as an inalienable right.

Von Redecker connects ecological considerations with social justice, developing a theoretical framework that opposes capitalist logics which exploit and destabilize people and nature. “Bleibefreiheit” calls for an integration of individual freedoms with the well-being of the community, making a case for a deeper responsibility toward the environment and a collective commitment to those threatened by the loss of their homes.

The book builds on her previous work, which critically examines capitalism, property, and their influence on social relationships and the environment. “Bleibefreiheit” places these questions even more firmly in the context of the climate crisis and social injustices.

In the subsequent discussion, moderated by Reimar Volker, Head of Music at the Goethe-Institute, participants, together with von Redecker, exchanged ideas on the implications of the concept of "the freedom to stay" for musical practices. The intensive artistic engagement with one's familiar surroundings offers numerous opportunities, as Peter Cusack had compellingly illustrated at the start of the symposium.

Marina Cyrino / Matthias Koole / Angélica Freitas: »Buck Passing« (Performance Excerpts and Discussion)

In 2024, the European Union became the first international organization to criminalize the most severe cases of environmental damage deemed “comparable to ecocide.” A noteworthy aspect of this “revolutionary” legislation is that it remains at the discretion of member states whether to apply the new directive to crimes committed outside EU borders on behalf of EU companies. However, this provision had not yet been definitively agreed upon.

At the “Time to Listen” symposium, Brazilian artists Marina Cyrino, Matthias Koole, and Angélica Freitas proposed a performance lecture and collective discussion based on their project "Buck-Passing." This project shed light on the entanglements between Germany and Brazil concerning environmentally harmful practices, specifically the Brumadinho disaster. In January 2019, a dam deemed safe by Germany’s TÜV SÜD, owned by the Brazilian mining company VALE, collapsed, resulting in 272 deaths and severe contamination of the Paraopeba River over a 200 km stretch.

The session began with a 20-minute performance featuring excerpts from "Buck-Passing”. Following this, the artists engaged the audience in a discussion on two main topics: the aesthetic and ethical choices involved in representing others' suffering to foster solidarity without appropriating their stories, and the challenges faced by artists and institutions in developing effective strategies to pressure EU companies and governments to pursue justice for global ecocides. Among the suggestions was to unite in music and take action through a large-scale festival.

Listening-Session: Nathan Gray “Listening to Indigenous cultures and extractive industries in Australia’s Northwest”

Acknowledgement: These works were made on Ngarluma and Yindjibarndi lands and refer to the lands of the Puutu Kunti Kurruma Peoples (PKKP) – we pay respects to their elders past and present.

Since 2022, Australian sound artist Nathan Gray, whose focus is language, has been working with and for the Indigenous people of the Pilbara region in northwest Australia. Including with Juluwarlu – the cultural archive of the Yindjibarndi People and Ngaarda Media a radio station that represents the 31 language groups of the region

In 2019, the Yindjibarndi became the first Indigenous people to gain exclusive native title over an existing mine site, giving them access and compensation but not the right to veto mining.  

Gray shared insights from his work on-site, and played some of the sound works he made in collaboration with the community that now form part of Juluwarlu’s archive as well as functioning as gallery art objects. He touched on the importance of sound practices including songs, oral histories, recordings and radio which have been integral to the legal process of reclaiming land. 

The audio samples and excerpts Gray presented highlighted the distinctly musical approach in his work. The collected field recordings are enhanced and sounds designed in a way that emphasizes his commitment to community accessibility and the specificity of radio and sound recording’s role in the continued legal and media struggles around indigenous sites

This approach is also evident in excerpts from “The Train from Jukaan Gorge”, a project in which Gray turned field recordings of autonomous freight trains into a composition reminiscent of a horror movie soundtrack. These trains, over a kilometre long, are the same ones that carried the iron ore from Jukaan Gorge where in In May 2020 the mining company Rio Tinto dynamited the Jukaan Gorge caves, sacred sites of the Puutu Kunti Kurrama and Pinikura peoples in The Pilbara, an archaeological site showing evidence of continuous human habitation going back 46,000 years.

Nathan Grays Radioshow bei Cashmere

Open Session: »Sonic story-telling for uncomfortable climate topics« (Arash Pandi)

Arash Pandi, an Iranian musician and sound artist living in Denmark, has also been a bio-farmer since 2020. Shortly before the pandemic, he spent an extended period in his homeland of Iran, deeply exploring the human relationship with the environment and the inherent violence involved in livestock farming. According to Pandi, the principle of nonviolence is deeply rooted in his country’s religion, predating Islam by centuries (Zoroastrianism, Manichaeism, Mazdakism, …). He understands violence not only as physical acts against animals but in a broader sense: “In Denmark, almost half of the country’s emissions come from agriculture sector in which 94% of it are from the production of animal products”, which he considers a form of violence against the environment. Can this be represented in music?

In his Open Session, Pandi shared some of his musical approaches to this topic, starting with collaged field recordings. Participants heard cheerful grunting of pigs with birdsong in the background, arranged, as he noted, because “most pigs today don’t hear birds, even though they’re forest animals. They live in barns or paddocks without access to forest.” Animal products, Pandi argues, are inherently based on violence. This perspective also inspired his piece I'm an Animal, which powerfully documents the realities of farm animals in the food production system through music and text.

Jenna Vergeynst: “Inclusion of non-human life“ (Open Session)

The Belgian harpist Jenna Vergeynst invited participants in her session to expand the concepts of listening, composing, and making music to include “non-human” or “more-than-human actors.” The inclusion of non-human or more-than-human actors involves recognizing and considering living beings and natural entities that exist beyond human life. This approach aims to understand humans, animals, plants, ecosystems, and even technological or artificial entities as part of an interconnected whole, integrating them into ethical, social, and ecological considerations. A central aspect of this perspective is ecological interconnectedness: it is assumed that all living beings and ecological systems are interlinked. Humans are not viewed in isolation, but rather as part of a network dependent on plants, animals, microbes, soils, and atmospheres. How can these interdependencies be recognized and addressed in music to promote the well-being of all involved?

The discussion focused on the departure from anthropocentrism. In traditional Western philosophies and societies, humans are often seen as the measure of all things. The more-than-human perspective seeks to overcome this viewpoint and place other life forms and actors at the centre. Rather than viewing nature as a resource for human benefit, it is understood as a co-actor.

During the open discussion, it quickly became clear that interaction with these entities is not necessary to capture their sonic character, and it was emphasized that these sound sources must be approached with the same respect: for sound is sound. Adnan and Nina Softić from Klimaton reported that they had reached similar conclusions during their project on the Arctic expedition "MOSAiC."

Incorporating non-human or more-than-human actors raises new ethical questions: For example, in field recordings, questions arise regarding consent and the rights of the entities whose sounds are being recorded. Equally relevant is the question of how these recordings are used to avoid exploitation or cultural appropriation while preserving the dignity of the documented sounds.

Participants in the open session agreed on the need for appreciation and integration of these more-than-human sounds into the work of artistic institutions. Under the keywords "Conservation" and "Restoration," a completely new working approach must be found. It is particularly important to develop a “contemporary ear” while simultaneously questioning the design and current work of museums and concert halls, which operate entirely in the spirit of "Western-dominated listening," a perspective that is no longer relevant.

With this session, Vergenyst continued a debate initiated in 2023 by Swiss scholar Gilles Aubry, who introduced his project "Stonesound" at "Time to Listen." His work revolves around the interdependencies between sound, technology, and environmental voices against the backdrop of power dynamics and colonialism.

Open Session: “Great Acceleration & European Concert Culture” (Bernhard König)

The composer and author Bernhard König hosted an "Open Session" to present his latest book, “Music and Climate”.

In “Music and Climate”, König delves into the interconnections between music and climate, a subject he has explored for years in various projects and publications. The book combines perspectives on music-making, listening, and musical aesthetics with pressing questions of climate protection.

According to König, music relies on stable climatic and ecological conditions, which are increasingly threatened worldwide by the climate crisis. The erosion of these foundations endangers not only regional musical cultures but also Europe’s musical heritage. At the same time, the expansive music industry, with global tourism and data-intensive streaming, unintentionally contributes to its own jeopardy.

Music lovers can help by promoting sustainable forms of music-making, for example, appreciating local cultural diversity, creating music themselves, and adopting climate-friendly practices. In times of climate change, music can foster hope, solidarity, and new relationships with nature, support climate-induced migration positively, and reduce reliance on resource-intensive systems.

While music alone cannot save the world, it can spark inspiration, resilience, and cultural transformation, paving the way for a sustainable and vibrant future.

For more information about the book, visit the publisher pages at ConBrio and Oekom, or explore musik-und-klima.de.

Ute Wassermann: »Sound Choir« (gemeinschaftliche Vokal-Performance)

Vocal artist Ute Wassermann presented an interactive performance. She began by introducing participants to basic techniques for working with their own voices and exploring their performative possibilities. She then demonstrated her artistic use of voice in combination with historical whistles from Brazil, some over 150 years old. These whistles, which often mimic specific bird species, serve as evidence of the biodiversity that our planet has partially lost. 

Can new artistic practices be developed from combining these flutes with the human voice? Following this introduction, Wassermann guided participants through some of her own techniques, focusing on breath, sound formation, and the connection between body, movement, and voice. Under her direction, participants tried out a variety of vocal practices together.

Offene Diskussionsrunde: “What considerations on climate ethics arise in artistic and curatorial work?” (Moderation: Sara Walther)

During the discussion, participants engaged in small groups to explore the considerations surrounding climate and its associated ethical issues in artistic and curatorial practices – and those that perhaps should emerge.

Under the moderation of Sara Walther, the session was structured around two central questions:

• What can and should artists and curators do?
  • What challenges do we face in this context?
  • What responsibilities do we bear?
• What might climate-conscious and ethical artistic practices in contemporary music look like?
  • What changes are necessary, and how can they be achieved?
  • What are the participants' utopian visions and desires?

The dynamic discussions in the rotating small groups led to presentations of their outcomes, which were supplemented by further, often fundamental questions:

• Artists and curators can serve as mediators in the discourse on climate change, raising awareness and prompting reflection. This entails an ethical obligation to use their work to inform, inspire thought, and drive change. A global perspective should be embraced alongside collaborative efforts among all stakeholders.
• Artistic and curatorial practices must be critically examined to ensure they adhere to sustainable and ethical standards. This includes reducing the environmental footprint of exhibitions, performances, and material usage.
• Does the artistic community have sufficient knowledge to make informed decisions on climate-related issues?
• What are the real possibilities for action within the artistic community? While the influence of individuals may be limited, even small steps and initiatives can spark change. However, existing power structures must be critically analyzed and challenged.
• To enable meaningful change, the creative industries must be strengthened. They play a vital role as pillars of democracy, even though they are often undervalued or insufficiently funded.
• Artists and curators need to be informed and actively engaged to wield influence effectively.
• Partnerships with venues are essential for addressing urgent climate issues in day-to-day operations. For example, during intermissions in larger venues, curated listening experiences could focus on the climate crisis and its artistic interpretation.
• Institutional frameworks, funding systems, and power dynamics can hinder the adoption of climate-conscious approaches. These structures must be re-evaluated and reimagined to support sustainable practices.
• Climate ethics in the arts demand collaboration with diverse communities, especially those most affected by climate change. This involves creating inclusive spaces for dialogue and incorporating global perspectives into artistic narratives.
• Ethical responsibility to future generations includes fostering resilience through education. Integrating environmental themes into music and arts education can prepare young people to respond creatively to the climate crisis. Broad access to music education is proposed as a means of enhancing the resilience of younger generations.
• Art possesses the unique power to envision alternative futures and challenge the status quo. Artists and curators should leverage this potential to develop utopias, explore solutions, and critique unsustainable practices. This can inspire audiences to imagine a more sustainable world.

By addressing these aspects, artistic and curatorial endeavours can significantly contribute to the ethical discourse on climate change and encourage collective action.

These discussions underscore the critical role of art and its practitioners in addressing the climate crisis, serving both as a space for reflection and as a catalyst for societal transformation.

Panel-Diskussion: »Navigating Music Funding with Sustainable Practices«. Mit Sophie Aumüller (Impuls neue Musik), Sebastian Brünger (Kulturstiftung des Bundes), Björn Gottstein (Ernst von Siemens Musikstiftung), Gregor Hotz (Musikfonds) und Reimar Volker (Goethe-Institut). Moderation: Lisa Benjes (inm / field notes)

In the large and prominently staffed closing panel, a topic was discussed that is essential for numerous artistic projects to even be feasible: financial support. The discussion focused on how funding organizations can adapt their strategies to promote sustainability in contemporary music and sound art. Participants were explicitly invited to actively contribute to the discussion and raise their concerns. Present at the panel were Sophie Aumüller (Impuls neue Musik), Sebastian Brünger (Kulturstiftung des Bundes), Björn Gottstein (Ernst von Siemens Musikstiftung), Gregor Hotz (Musikfonds) und Reimar Volker (Goethe-Institut). 

All the funding institutions involved are part of a loose network that emerged from the first Time to Listen conference in 2022. At that time, one of the discussion groups focused on sustainability and funding, which subsequently led to the formation of a working group that more and more institutions joined. Since then, these funding organizations have met sporadically to discuss how they can become more sustainable as organizations, how they can advance this topic within the scene, and how to improve their networking efforts in these endeavours.

Sebastian Brünger from the German Federal Cultural Foundation (Kulturstiftung des Bundes, KSB) outlined his organization’s approach: The initiative Über Lebenskunst dates back to 2010. It was a two-year project in collaboration with the HKW (Haus der Kulturen der Welt) that included activities in Berlin, a festival, and a series of events on alternative lifestyles. However, not much happened regarding sustainability in the following years. In 2012, the KSB received the EU's EMAS certification for sustainable management, requiring regular environmental audits and continuous improvements to environmental practices. The goal is to achieve climate neutrality by 2030. The nationwide pilot project Carbon Footprinting in Cultural Institutions supports 19 cultural organizations in measuring their CO₂ emissions, and the Zero funding program pursues a similar goal by encouraging creatives to develop climate-neutral approaches to art projects. The goal of becoming fully climate-neutral by 2030 also affects the funding process: certain activities, such as domestic flights within Germany, are already excluded from funding. However, Brünger noted that a blanket ban on flights for international projects, which the KSB also supports, is not as easily implemented and requires careful consideration on a case-by-case basis.

From the audience, a question was raised about how collaborative projects between the "Global South" and the "Global North" could be funded under the premise of climate-neutral support, given that the "Global South" often faces disadvantages in such frameworks. Reimar Volker from the Goethe-Institute emphasized that his institution already considers this issue, particularly through the International Coproduction Fund (IKF).

Regarding upcoming budget cuts to federal cultural funds, Gregor Hotz from Musikfonds e.V. gave little hope for an improvement in the current situation. He confirmed that financial resources are shrinking, with Musikfonds facing significant cuts: from €5.25 million in 2024 to €2.9 million in 2025. Federal cultural funds do not anticipate better conditions or increased budgets in the coming years. Currently, Musikfonds funds around 10% of submitted project applications in their project funding scheme. Projects requesting smaller amounts of funding have better chances of approval, which affects artistic perspectives. Whether this approval rate can be maintained remains to be seen. Further budget cuts are also expected for the KSB.

When asked how funding organizations respond to criticism that funding increasingly ties to political criteria, Hotz acknowledged the concern. For instance, what about purely musical projects that lack political or discursive dimensions? Hotz stated that societal and political aspects are naturally part of the decision-making process. However, all submitted projects are evaluated equally, and "simply beautiful piano music" can be funded if it convinces the jury.

Björn Gottstein from the Ernst von Siemens Music Foundation reported that ecological sustainability currently plays a minor role in project evaluation and funding decisions. The internal processes for approving funds take too long to implement such criteria effectively. He encouraged participants to continue advocating for change, saying, "We need external pressure."

The symposium was accompanied by two program highlights that participants could explore over the course of the two days.

Álvaro G. Díaz-Rodríguez: »The soundscape in the migratory path of The Beast in Mexico« (Sound Installation)

Musicologist and sound artist Álvaro G. Díaz-Rodríguez presented his video-based sound installation “The Soundscape in the Migratory Path of The Beast in Mexico”. “The Beast” (La Bestia) refers to the freight trains in Mexico that traverse approximately 5,000 kilometers from south to north and are used as a means of transportation by migrants from countries such as Guatemala, Venezuela, and Nicaragua on their journey to the United States. In his installation, Rodríguez documents the resulting soundscape: the conversations of those fleeing, the audible soundscapes of the many stops the trains make at various locations in Mexico, and the shifting sonic conditions that accompany them.

Der Musikwissenschaftler und Klangkünstler Álvaro G. Díaz-Rodríguez präsentierte seine videogestützte Klanginstallation »The soundscape in the migratory path of The Beast in Mexico«. Als »The Beast« (»La Bestia«) werden in Mexiko die Güterzüge bezeichnet, die das Land auf rund 5.000 Kilometern von Süden nach Norden durchqueren und von Migranten aus Ländern wie Guatemala, Venezuela und Nicaragua auf dem Weg in die USA als Transportmittel nutzen. Rodríguez’ dokumentiert in seiner Installation die so entstehende Klangwelt: die Unterhaltungen der Flüchtenden, die zu hörenden Soundscapes der zahlreichen Haltepunkte der Züge an unterschiedlichen Orten Mexikos und die sich damit verändernden sonischen Bedingungen.

Sound Booth

In the Sound Booth, participants had the opportunity to immerse themselves in three very different projects: Elsa M'bala offered an insight into her project “Ass Niang Collection”, in which she documents the musical history of the African continent since the 1960s – with a tape collection passed down to her by the Senegalese collector Ass Niang. The Irish composer Karen Power presented new, unedited field recordings for her project “arctic ice speaks through time”, which she made in August 2024 in the Arctic – above, in, and under the eternal ice. And the sound examples from “Futures of Listening – Curating Water Knowledge” provided a concrete understanding of the extensive project of the same name, which was also introduced in a workshop during the symposium. Six recordings from Indonesia illustrated how the presence or absence of water affects the environment and its acoustic perception.