1. What kinds of listening modes can be enacted that refuse a self-silencing / self-disciplining? (A first step towards this might be the identification of listening modes that we already undertake unbeknownst to ourselves, within a capitalist, technologically-advanced context). (Eg. Can one learn to listen peripherally?)
2. Sound has been a noisy presence within visual art contexts (cf. Fluxus, Pivato performance) but is constantly running the risk of domestication (headphones, soundproofed isolation, narrowly targeted speakers (LRAD variety)). What are the stakes in continuing to insist on sound’s capacity to intervene politically within art institutions? How might the evolving nature of such institutions warrant new forms of sonic intervention? Or put a different way: how might one OCCUPY a space via sound?
3. How does the game of attention-grabbing function today, in a world of dense sensory stimulation? (How can a culture of interruptions be interrupted?) What are some of the new ways in which signals cut through noise? Can distraction—considered a negative condition—have positive aspects?
4. Have you ever been in a situation where the notion of frequency (pitch) seemed allied with a political position? What about volume? (Sounds warranting dispersal vs. magnetically attractive sounds?)
5. What types of cognitive and affective manipulation are specific to sound? How does sound manage to insinuate itself into consciousness and unconsciousness?