Technologies of listening embody an approach that promotes inclusive listening, recognising and integrating the other, giving voice to historically silenced groups and fostering spaces for dialogue. These practices contribute to resolving social conflicts through empathy and collaboration, thereby encouraging a technological culture grounded in ethics, care, and social justice, in which innovation serves the common good rather than control and domination. Technologies of listening are embedded in what I call sonic media art, and as such, they belong to artefacts built technologically, which entails a material aspect of technology. Media archaeology attends to technologies, analysing them as geological, temporal and material artefacts. The materiality extends into a past material that gives shape to computers, plastics, vinyl, sonic apparatuses, etc. The time-material relationships highlight the planetary conditions in which humans develop their cultural, social and economic activities. Nowadays, everything is mediated by tech, and it is the responsibility of artists and curators to express the ethical resources we are working with. Thus, my adoption of techno-feminism and media archaeology as a framework for planetary consciousness helps us evolve critically.

The invited artists were selected for their distinct yet intersecting engagements with sound, code, and technological materiality. Each of them approaches technology not as a neutral tool but as a site of experimentation, resistance, and relationality. From Eszeveszett’s noise-based explorations that foreground sonic excess and rupture to Zsolt Sőrés’s subtle, research-driven experimental electronic practice, the program reflects a spectrum of listening positions. The collaboration between Natalie Szende and Andrea Görcz connects experimental electronic sound with visual live coding, making processes visible and audible simultaneously, while k1dw4r and Claude Heiland-Allen expand live coding as a performative and critical methodology that exposes the algorithmic structures shaping contemporary life. Alley Catss and Eccot Virgo were invited for their deep engagement with modular and hybrid systems, in which control voltage, circuitry, and improvisation serve as tools for rethinking agency and embodiment in technological systems. Together, these artists were chosen because their practices resonate with the curatorial framework: they enact technologies of listening by revealing infrastructures, amplifying marginal sonic gestures, and cultivating spaces where experimentation becomes a form of ethical and planetary awareness.

6:00 pm doors open
6:30–7:00 pm eszeveszett
7:10–7:40 pm Eccot Virgo
7:50–8:20 pm k1dw4r
8:30–9:00 pm Alley Catss
9:10–9:40 pm Szende Natalie & Görcz Andi
9:50–10:20 pm Ahad
10:30–11:00 pm Claude Heiland-Allen
11:10–11:40 pm Laura Netz

Curated by Laura Netz, curator, artist, and researcher.
Currently, she is an MPhil candidate at CRiSAP–UAL, where she studies the new tendencies in curatorial practices in sonic arts.

Laura Netz’s participation in the AQB residency program was made possible with the support of Culture Moves Europe.

This work was produced with the financial assistance of the European Union. The views expressed herein can in no way be taken to reflect the official opinion of the European Union.