Part of a larger research project that takes the siren as a prompt for exploring the politics of listening and emergency, Preemptive Listening brings together musicians, activists and thinkers to propose alternatives modes of sounding and recalibrating the signal. The film weaves together original music by Mazen Kerbaj, Raven Chacon, Evelyn Glennie, David Toop, Elaine Mitchener, Camille Norment, Laurie Spiegel, Maja S.K. Ratkje, Anton Lukoszevieze, BJ Nilsen, Ilpo Väisänen, Rhodri Davies,  FUJI|||||||||||TA, Sarah Davachi,  Christina Kubisch, Moor Mother, Horomona Horo, Debit, and Kode9, alongside the voices of Khalid Abdalla, Daphne Carr, Asantewaa Boykin, Niki jones, Erin Matariki Carr, and Arturo Escobar. Shot using a mix of 16mm film and drone cameras, Preemptive Listening is driven by its soundtrack which activates images of sirens and emergency systems across the world, from Fukushima, Chile, the Netherlands, the US, to Israel and Palestine. Prompting a range of visual and sonic associations, the film considers the siren as an emblematic sound of resistance, oppression and extinction; as a cipher of trauma; as a mouthpiece for sonic governance and crisis management; and as marker of territorial control.

Followed by a conversation with Aura Satz.

Curated alongside London-based artist and filmmaker Aura Satz, Tate Film presents a three-day programme (Thursday 25 to Saturday 27 April) of screenings, performances, and round table discussions exploring sonic practices and how they relate to sirens and emergency signals. Does an alarm have to be alarming? How can we address alarm fatigue, both as lived reality and as a metaphor for our current state? On Friday 26 April, a Tate Late responding to these questions will be taking place and the programme will conclude on Saturday 27 April with a symposium and performance.

Full details on the Tate website.  

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