e52 mahtani – listening and connecting

If we can find ways to encourage people to listen, that can help them to build a connection, even if it's to a small plot of land near them. By helping them to have a new relationship with that, which will then expand and help hopefully savour a deeper and more meaningful relationship with our natural world, and small steps like that, even if it's only a couple of people at a time, that could spread. I think that nobody, no one person, is going to be able to change the world, but that doesn't mean we should give up. dr. annie mahtani, conscient podcast, june 11, 2021, united kingdomNote: This episode is dedicated to World Listening Day on July 18 2021 on the theme of The Unquiet Earth. It was published on that day, which is also the birthday of Canadian composer R. Murray Schafer. For more information see https://www.worldlisteningproject.org/Dr. Annie Mahtani is an electroacoustic composer, sound artist and performer working and living in Birmingham (UK). She studied with Jonty Harrison at master’s and doctoral level at the University of Birmingham, completing her PhD in 2008. Annie’s output encompasses electronic music composition from acousmatic music to free improvisation. As a collaborator, Annie Mahtani has worked extensively with dance and theatre, and on site-specific installations. With a strong interest in field recording, her work often explores the inherent sonic nature and identity of environmental sound, amplifying sonic characteristics that are not normally audible to the naked ear. Annie is a Lecturer in Music at the University of Birmingham and is co-director of SOUNDkitchen, a Birmingham-based collective of curators, producers and performers of live electronic music and sound art. I first met Annie at The Global Composition gathering in Dieburg, Germany (with thanks to organizer Sabine Breitsameter) where she presented some of her audio work and ideas on soundwalking and technology. 2 years later I had the pleasure of presenting a workshop on Reality, Extinction, Grief and Artat the BEAST FeAST 2021: Recalibration on April 23, 2021 in Birmingham (via Zoom), which explored greater appreciation of the environment, reconnection with the environment and deeper awareness of human effects on the environment. This workshop with 30 or so audio artists from around the world had a profound affect me. It helped me understand some of the issues my community of audio artists were facing and reminded me of the burden placed on young people as they inherit this troubled world. I also appreciated their guarded optimism and resilience. One participant suggested that, given the climate emergency, maybe all music should be acoustic ecology (the study of the acoustic environment as a whole as opposed to only the art of music) from now on. Maybe… This quote from the episode summarizes Annie’s thinking on the role of the festival:For the (BEAST) festival we wanted to look at what COVID has done to alter and adjust people's practice, the way that composers and practitioners have responded to the pandemic musically or through listening and also addressing the wider issues: what does it mean going forwards after this year, the year of uncertainty, the year of opportunity for many? What does it mean going forward to our soundscape, to our environmental practice and listening? We presented that goal for words, as a series of questions, you know, not expecting necessarily any answers, but a way in a way to address it and a way to explore and that's what the, the weekend of concerts and talks and workshops was this kind of exploration of our soundscapes, thinking about change and thinking about our future.I would like to thank Annie for taking the time to speak with me about our shared interest in electroacoustic music, for her excellence as a composer and curator, for her commitment to social justice and her passion for listening. For more information on Annie’s work, see http://www.anniemahtani.co.uk/travail d'Annie, voir http://www.anniemahtani.co.uk/ *END NOTES FOR ALL EPISODESNote : I'm currently 'pressing pause' and am not producing new content until further notice. Hey conscient listeners, I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share togetherIn parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.  Your feedback is always welcome at claude [at] conscient [dot] ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.Share what you like, etcI am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Thanks for listening. Claude SchryerLatest update on March 21, 2026