Ximena Alarcón Diaz
Ximena Alarcón (BA, MA, PhD) is a sound artist researcher interested in listening to interstices: dreams, underground public transport, and the migratory context. Her research focuses on the creation of sonic telematic performances using Deep Listening , telematic improvisation, and interfaces for relational listening. She is now a Marie Skłodowska Curie Fellow at the Department of Musicology at the University of Oslo, developing her project INTIMAL : a novel physical-virtual "embodied system" for relational listening, integrating: body, memory, migration and telematics.
INTIMAL is situated in the European context of migration and diaspora, and at the intersection of sound art, music cognition, psychology and human-computer interaction. Through the artistic practice of telematic sonic performance this system will interconnect people's physical movement and voice their memories and dreams from distant locations. Departing from the question, "What is the role of the body as a interface that keeps memory of place?" This practice-led research explores the body as a mediator in the listening process in the human migratory experience of cultural and geographical dislocation. Taking as a case study the experience of Colombian migrant women in Europe, INTIMAL will be informed by their listening experiences and tested as a catalyst in a process of healing and reconciliation within the context of Colombian post-conflict and peace building.
Higher Education Degrees
PhD in Music, Technology and Innovation, Montfort University. January, 2007
MA Communication and Education, Universitat Autònoma de Barcelona. December, 1998
BA Social Communication, Universidad Externado de Colombia. December, 1992
Embodied practices certifications
Deep Listening Teaching Certificate. Deep Listening Institute, Kingston NY. April, 2012
Elemental Chi Kung Teacher Certificate. College of Elemental Chi Kung, London. October 2014
- Marie Sklodowska Curie Individual Fellowship 2017-2019
- The Leverhulme Trust Early Career Fellowship 2007-2009
- Honorable Mention for the New Genre Prize for 'Sounding Underground' 2011 International Association of Women in Music (IAWM) search for New Music Competition. Innovation in form or style, including improvisation, multimedia, use or non-traditional notation.
Thanks to the Leverhulme Trust Early Career Fellowship 2007-2009 (Institute of Creative Technologies- DMU) Ximena conducted her project " Sounding Underground ", an interactive sonic environment that links commuters' listing experiences from the metros of London, Paris and Mexico City. She studied the practice of Deep Listening with Pauline Oliveros, IONE and Heloise Gold, and became a Deep Listening Certified Tutor in 2012. She has incorporated this unique practice into her art research methods. From 2011 to 2017 she was a Research Fellow at the Creative Research in Sound Arts Practice - CRiSAP, at the London College of Communication, University of the Arts London, where she developed her projects "Networking Migrations" a series of telematic sonic performances exploring the 'in-between' space in the context of migration, and “Sound Matters Framework” for the use and re-use of field recordings and speech.
- 2017-2019: Postdoctoral Researcher, Marie Skłodowska Curie Individual Fellowship. Department of Musicology, University of Oslo.
- 2011-2017: Research Fellow CRiSAP, London College of Communication, University of the Arts London.
- 2015-2017: Deep Listening Tutor Online Certification Program, Center for Deep Listening, Rensselaer Polytechnic Institute
- 2013-2014: Lecturer, Program Leader for Masters in Creative Technologies, IOCT, The Montfort University
- 2010-2011: Research Fellow, Program Leader for Masters in Creative Technologies, IOCT, The Montfort University
- 2009-2010: Research Fellow IOCT, De Montfort University
- 2007-2009: Research Fellow Leverhulme Trust, IOCT, De Montfort University
- 2012-2017: Associate Lecturer in Sound Arts, BA / MA Sound Arts, London College of Communication, University of the Arts London
- 2013; 2014: Associate Lecturer in Deep Listening, BA Music Composition, University of Coventry
- 1999-2001: Lecturer in Multimedia, BA Social Communication, Universidad Externado de Colombia
Alarcon, Ximena (2016). "Sonic Migrations: Listening in-between, Sensing Place" , in Environmental Sound Artists. In Their Own Words. Edited by Frederick Bianchi and VJ Manzo. Published by Oxford University Press: New York
Alarcon, Ximena (2015). "Telematic Embodiments: Improvisation via Internet in the context of migration" (including two sound files from Migratory Dreams' telematic performance) , in Vs. Interpretation: An Anthology on Improvisation Vol.1, Edited by David Rothenberg, published by Agosto Foundation: Prague, June 2015
Alarcón, Ximena (2007). " An Interactive Environment derived from commuters' memories of the soundscape: a case study of the London Underground. "PhD Thesis. The Montfort University: Leicester. (2007)
Peer Reviewed papers
Alarcon, Ximena (2017) Bajo la tierra: Escucha porosa de modernidad and el metro de México . Revista de Arte Sonoro y Cultura Aural (3). pp. 33-39.
Alarcón, Ximena (2017). 'A taxonomy for Listening and Performing' in-between 'migratory spaces using mobile apps' , in WI Journal of Mobile Media, 'Mobile Making' Issue, 2017: VOL. 11 NO. 1 . Edited by Samuel Thulin. Published by Mobile Digital Commons Network (MDCN) in the Mobile Media Lab: Montreal & Toronto.
Alarcón, Ximena (2017). "Suelo Fértil: a telematic platform for migrant women" . Presented in the Panel "Cultures and Listening" in "FOOT2017, an inner ear of performance" Festival. Toronto - Canada. February 5th, 2017.
Alarcón, Ximena (2016). "Tuning the Interface for Relational Listening" , in Proceedings International Conference in Live Interfaces 2016. Edited by Thor Magnusson, Chris Kiefer, and Sam Duffy. Published by Emute Lab, University of Sussex & REFRAME: Brighton
Alarcon, Ximena (2014). "Networked Migrations: listening to and performing the in-between space" , Limitations: A Journal of Performance Studies Vol. 10, No. 1, May 2014
Alarcon, Ximena (2013). Creating Sounding Underground , in Digital Creativity Journal Vol. 24, No. 3, 01 Sep 2013. Pages: 252-258 DOI: 10.1080 / 14626268.2013.813380
Alarcon, Ximena (2011). "Listening and Remembering: Networked off-line improvisation for four commuters" in CITAR Journal of Science and Technology of the Arts, Revista de Ciência e Tecnologias das Artes . Issue 3, Autumn 2011. Portuguese Catholic University: Porto
Alarcón, Ximena (2011). " Sounding Underground: listening, performing and transforming the commuting experience " in the Sensate Journal: A Journal for Experiments in Critical Media Practice [ The Sensory Ethnography Lab and MetaLAB (at) Harvard . (2011).
Alarcon, Ximena (2011). "Creating an Interactive Sonic Environment", in the Journal of the IAWM International Alliance for Women in Music. Volume 17 No. 2. Cheetah Graphics: Sevierville, TN
Alarcón, Ximena, Askaroff Kira, Candy Linda, Edmonds Ernest, Faram Jane, and Hobson Gill, (2014) "Evaluation in Public Art: The Light Logic Exhibition" in Interactive Experience in the Digital Age Candy, Linda; Ferguson, Sam (Eds.), Springer Series in Cultural Computing ISBN - 978-3-319-04509-2
Alarcón, Ximena & Amado Inês (2013) "A virtual conversation between two artists" in Only Connect ... Discovery pathways, library explorations, and the information adventure . Walsh, Andrew and Coonan, Emma (Eds). Innovative Libraries, Huddersfield. ISBN 978-0-9576652-0-0
Alarcón, Ximena (2017) "Secreto an Voces [An Open Secret]" in Still Listening, Pauline Oliveros McGill University.
Alarcón, Ximena (2011) "Roots" Text score in Deep Listening Anthology , Deep Listening Publications, Vol 2
- Alarcón Diaz, Ximena (2018). Memorias sonoras que acumula el cuerpo al viajar por debajo de la tierra.. Resonancias: Revista de investigación musical. ISSN 0717-3474. 22(42), s 151- 168 . doi: https://doi.org/10.7764/res.2018.42.9 Full text in Research Archive. Show summary
- Alarcón Diaz, Ximena (2017). On DIs-location: Listening and Re-composing with Others. Reflections on Process in Sound. (5), s 24- 37 Full text in Research Archive. Show summary