Laura Selby: In my work, ‘contamination’ is a metaphor for the ways in which human, non-human, and even microbial entities interact—each leaving traces of voice, thought, particle, and breath.
Laura Selby The title - Sonic Contamination - originates from my ongoing research into exploring listening-led methods to bridge between the more-than-human through sound. Inspired by Anna Tsing’s words on ‘contamination’ as an invitation for collaboration between beings, communities and more. Where our encounters fundamentally alter us, opening the door to collaboration and mutual transformation. As Tsing writes,
‘We are contaminated by our encounters; they change who we are as we make way for others. As contamination changes world-making projects, mutual worlds—and new directions—may emerge. Everyone carries a history of contamination; purity is not an option.’
(Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins)
In my work, ‘contamination’ is a metaphor for the ways in which human, non-human, and even microbial entities interact—each leaving traces of voice, thought, particle, and breath. The workshop explores how we can become more consciously connected to non-human ecologies through the act of listening. Crucially how through listening and sound we can reveal the Sonic Contaminations around us.
Using extended listening (field recording, and the microphones) as a way to reveal normally hidden sounds to our human spectrum of hearing, and then reflect on our human sonic presence within these sonic worlds, ecosystems, listened to during the workshop. The term: Non-human Propaganda, is a deliberate inversion of the traditional, human-centered notion, urging us to begin interpreting the narratives embedded in the world around us from the more-than-human. Within the workshop we explore this idea through a process called chromatography. Soil samples are collected at the workshop listening sites and are processed to expose the hidden colors and minerals within the organic material, offering a visual representation of the underlying ecosystem relationships. Chromatography is then used as a process to print and create with participants and the listening sites, a way for non-human information and narratives to be shared.
BP Tell us a bit about yourself and your practice more generally.
LS Listening is at the heart of my practice—it shapes how I experience the world. I’m passionate about harnessing listening as a tool that helps wider audiences not only understand and encounter the world but also care for and build conscious relationships with the non-human entities that are intrinsic to our way of life. I normally begin my work with field recording, specialising in using extended methods or long-form recordings to collect sonic data, these have ranged from recording the concrete architecture of Croydon, the ultrasonic frequencies of dust to mycelium forming over a period of two weeks. My work is research-led and manifests in various forms—from listening workshops and installations to compositions and performances. Recently, I’ve been exploring how machine learning can extend cross-species communication and co-creation, using my own field recordings as data. Moreover, I’m increasingly interested in how listening and creative practice can bridge the gap between industry and policy, advocating for ecosystems to have a “seat at the table” in decision-making processes.
BP How did you experience Braziers as a site to run your workshop? And what was it that attracted you to the site and how did your workshop blend into the ethos of our community?
LS I found Braziers to be a spectacular site—a beautiful house and grounds that offered a wealth of potential locations for my workshop. Since I needed a blend of outdoor and indoor spaces, Braziers Park was perfect. For the weekend, I used the grounds and surrounding woodland for the listening sessions, while the Cowshed provided a collaborative space for participants to share and create together.
As soon as you enter Braziers, you feel like you’re stepping into another world. The house itself unfolds as you explore—there’s a contemplative lounge, a bustling kitchen and dining area, a retreat-like library, and even a sanctuary in the room I called home for the weekend. It truly is a special place.
But the part that makes Brazier’s park so special is the community of individuals who tirelessly work together to not only maintain the site's unique spaces but also continue to develop how Brazier’s can connect with its local community and beyond. Through developing the workshop for Brazier’s I have made life-long friends and creative collaborators. I cannot recommend this space enough to anyone who can bear me to chew their ear off about it(!)
BP Any reading (books, articles, etc.) or film you would like to share with us? Anything that reflects your current mindset/values/creative practice?
LS Mushroom at the end of the World would be top of the list, Finding the Mother Tree (Suzanne Simard) blew my mind to understand the shared memory of forests. Then more recently, Makis Solomos’ work exploring ecologies, music and activism. Pauline Oliveros’ Quantum Listening and The Order of Time by Carlo Rovelli. Prof. Andrew Adamatsky’s work on Spiking potential and responses in the mycelium network. Films: Princess Mononoke (again and again!) This film is timeless example of storytelling and communicating the complexities of humans and non-human relationships, Fantastic Fungi - the film that directed my field recording practice to reveal hidden worlds around us and of course Serenity - not connected to my practice but a guilty pleasure of a film that I seem to always watch time and time again!
BP Three words to describe Braziers Park?
LS Relationship - Growth - Resonance
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Laura Selby (she/her) is a sound artist, and experience producer from Croydon. Fascinated in revealing the hidden perspectives and narratives of organisms through sonification, from mycelium, moss, concrete to microbe. Her crafted workshops aim to engage communities and expand personal and communal perspectives by sharing in research-led encounters and discussion. These have led to outcomes such as her extended-listening workshops based in Epping Forest and mushroom community garden designing with The South London Mushroom Club and The South London Urban Growers.
www.laurakrselby.com