On the first day, we were faced with some fundamental questions: 1) How should we work? 2) What environment should we work in? 3) and how should we structure the sharing and collaboration with visitors?





















STRUCTURES FOR SHARING/COLLABORATION

We ended up tackling question 3) first. We proposed a daily sharing session which would take place every evening between 7-8pm. This would be an opportunity for participants to share what they had been working on with new visitors as well as to the rest of the group. The sessions would be broadcast live on Callshop Radio, who were also temporary residents at FLUCC.

These sharing sessions took place on 14th, 15th, and 16th March. Each one was different from the last and encorporated learning from the previous days. There was a dynamic program which often materialized minutes before we went on air. It consisted of FLUCC-based sound projects, as well as voice calls from Robbi Meertens and Liza Kuzyakova, who were working in parallel from the Netherlands. It became clear that doing presentations was quite easy, but facilitating discussions was harder. There was an asymmetry between the participating artists, who knew each other's practices very well, and visitors, who did not arrive with any context or background knowledge. In response to this, we started opening the sessions by asking "Describe what you did today". Finding this question felt like something of a breakthrough. It had a clear timeframe, it didn't require too much background knowledge, and it had an strong feeling of urgency to it.



















WORK<->ENVIRONMENT

Organizing daily sharing sessions also triggered a daily re-structuring of our working environment. Every day, we moved around tables and benches, tried out new speaker and projection placement, and rediscussed the roles of schedule, presenter, physical audience, radio audience, recordings, etc. A fascinating loop established itself whereby the working/presenting environment shaped what was worked on/presented, which in turn re-shaped the environment.




























SITE-SPECIFIC SOUND EXPERIMENTS

The remaining question 'How should we work?' at least partially answered itself. Drawing on the methods of site-specific sonic research which we had developed during the previous project in Moritzplatz, Berlin, the group picked up a mixture of old and new projects, individually or as part of groups, outside or inside. The results can roughly be separated into 7 projects:



























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1. Opening improvisation
Marta Beauchamp, Kristina Warren
FLUCC, Vienna
























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2. Praterstern + Wurstlprater composition + soundwalk Jakob Köchert Praterstern area, Vienna
























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3. Binkhorst Research
Liza Kuzyakova
Binkhorst, The Hague
























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4. Between here and there | 15:10-16:30 UTC+2 15/03/2023
Mort Drew



















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5. Attraction / repulsion sound walk
Robbi Meertens
KNSM-eiland, Amsterdam
























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6. Tapping
Robbi Meertens, Max Baraitser Smith
KNSM-eiland, Amsterdam
FLUCC, Vienna
















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7. Listening Bench
Marta Beauchamp, Jakob Köchert
Praterstern area, Vienna

1. Opening improvisation (Marta Beauchamp, Kristina Warren)

2. Praterstern + Wurstlprater (Jakob Köchert)

3. Binkhorst Research (Liza Kuzyakova)

4. Between here and there (Mort Drew)

5. Attraction / repulsion sound walk (Robbi Meertens)

6. Tapping (Robbi Meertens, Max Baraitser Smith)

7. Listening Bench (Marta Beauchamp, Jakob Köchert)

Attraction/repulsion walking score:

1. Walk out the door.
2. Wait and listen.
3. Listen for a sound to move you in a certain direction, either by attraction or repulsion.
4. Walk and keep listening untill you feel you need to make a decision where to go, if so:repeat step 3.
5. Find ways of documentation.

Tapping (KNSM-eiland, Robbi)