TEN:TWO delves into the interconnectedness of two cities - Liverpool and Preston - through a short film, installation, and publication that weaves together sound and still images. The work serves as both a documentation and an exploration of these urban environments, which I travelled daily. It captures the passing of time and reflects the ever-changing nature of the cityscape that surrounded my often-hectic routine. In contrast to this pace, I became increasingly drawn to moments of quiet spaces, where listening could become an intentional act of slowing down, a means to find refuge and reflect.
Listening sits at the heart of this project - not merely as hearing, but as an embodied, attentive, and reflective practice. Drawing inspiration from Pauline Oliveros’ notion of Deep Listening, TEN:TWO invites a heightened awareness of sonic environments. Oliveros described Deep Listening as “listening in every possible way to everything possible to hear no matter what one is doing.” This ethos resonates deeply within the work, where the act of listening becomes a method of sensing place, presence, and transformation.
The sound component is composed of site-specific field recordings - ambient textures, incidental rhythms, and the subtle acoustics of the cities - carefully edited into a cohesive soundscape. These recordings are not simply background but foregrounded as carriers of meaning, mood, and memory. In pairing sound with still images and slight movements, the work invites the audience to listen into the environment, to notice what might usually go unheard.
The juxtaposition of image and sound creates an atmosphere where time appears suspended yet constantly shifting. This stillness is not silence but a sonic pause, an invitation to become fully present. TEN:TWO becomes not only a portrait of place, but a meditation on perception, attention, and the transformative potential of listening within urban life.
Listening sits at the heart of this project - not merely as hearing, but as an embodied, attentive, and reflective practice. Drawing inspiration from Pauline Oliveros’ notion of Deep Listening, TEN:TWO invites a heightened awareness of sonic environments. Oliveros described Deep Listening as “listening in every possible way to everything possible to hear no matter what one is doing.” This ethos resonates deeply within the work, where the act of listening becomes a method of sensing place, presence, and transformation.
The sound component is composed of site-specific field recordings - ambient textures, incidental rhythms, and the subtle acoustics of the cities - carefully edited into a cohesive soundscape. These recordings are not simply background but foregrounded as carriers of meaning, mood, and memory. In pairing sound with still images and slight movements, the work invites the audience to listen into the environment, to notice what might usually go unheard.
The juxtaposition of image and sound creates an atmosphere where time appears suspended yet constantly shifting. This stillness is not silence but a sonic pause, an invitation to become fully present. TEN:TWO becomes not only a portrait of place, but a meditation on perception, attention, and the transformative potential of listening within urban life.
Installation
