2025 — Bell Rock Labyrinth and Disintegration
2025 — A Manufacturing Process for Moiré Silk
2025 — Dogification
2025 — Coop
2024 — Yule Log to Cure the Anxiety
2024 — Companion Piece
2023 — Christiania Sound Archive
2022 — Place of Toil
2022 — Animal Noise (Institute for Critical Animal Studies)
2021 — Unsound Transmissions (Society for Disability Studies)
2021 — aden: tizita, from the feet up
Jessie Cox, The Sound of Listening, 2021
Performance, 1:32:35 minutes
From the series “Propositions from the DeadWIP”
Organized by Sami Hopkins at ISSUE Project Room, New York (See program webpage)
Wednesday, March 31st at 8pm EST, 2021 Suzanne Fiol Curatorial Fellow Sami Hopkins presents their first program in Propositions from the deadWIP, featuring composer, drummer, and scholar Jessie Cox in collaboration with Kathryn Schulmeister, Juliana Gaona-Villamizar, “Dac” Chang, and Douglas R. Ewart. Propositions from the deadWIP is a multidisciplinary performance series that balances considerations of knowledge and fallibility launching from the premise that creative knowing imbues the process of making as much as a work’s eventual presentation or future iterations. By never claiming to reach finality, the works in this series accept the condition of being always “in progress,” with the potential to reimagine the status of a work-in-progress (WIP) altogether.
In this first installment, Jessie Cox presents his composition The Sound of Listening: an improvisatory work that engages Cox’s speculation of a body’s potential in forming new time-space experiences. Conceived as a participatory event, listeners and musicians behave as agents in space—dictating their movement through the work via virtual “rooms” of Cox’s construction (each room hosting an assigned soundscape and suite) and thereby determining how the composition itself is configured.
Through this experiment with listening-as-making, Cox considers how space and time (loosely represented in “sound rooms”) may be encoded in the body—and above all, how a body, materialized virtually or otherwise, might alter the geographies of sensory, spatial, or temporal experience, mapping the terrains of history, present, and future. How might one listen, but also act as a listener when participating in the formation of space, explored within the domain of this time-based work?
Within the broader deadWIP, Cox argues for the ways a body(mind) might re-articulate sound events through a type of listening that is at once generative and autonomously deployed.