In New York City, a growing interest in the practice of “soundwalking” is drawing attention to the city’s rich and often overlooked auditory environment. Soundwalking involves consciously listening to the sounds around one, uncovering an aural landscape frequently masked by urban noise. This method, originally coined by Canadian composer R. Murray Schafer in the 1970s, is now being explored by artists and scholars to deepen public awareness of soundscapes in both natural and urban settings.
Jacek Smolicki, a Stockholm-based artist, scholar, and designer, has become a prominent figure in soundwalking, using specialized microphones to reveal the hidden sounds of New York’s environment. During a recent excursion in Central Park’s North Woods, Smolicki employed underwater microphones and geophones—devices that detect underground vibrations—to capture subtle sounds such as the plinking of aquatic snails, bubbling microbial activity, and the opening and closing of fish mouths. These sonic details expose dimensions of the environment seldom perceived by the naked ear.
Smolicki’s work emphasizes the immersive potential of soundwalking as a form of “listening activism,” an intimate way to engage with nature and urban life amid the incessant noise of modern technology. Originating from Krakow, Poland, his personal history includes upbringing during martial law and family-led listening sessions of banned music, experiences that inform his interest in sound’s social and political textures. His soundwalks also incorporate reflections on history, such as a commemorative walk through Krakow’s former Jewish Ghetto, incorporating survivor testimonies and ambient recordings to evoke memory and silence.
The practice is part of a broader cultural moment. Institutions like the Park Avenue Armory in New York and the 2026 Venice Art Biennale explore sound as a medium for artistic reflection and meditation, underscoring sound’s role in fostering mindfulness amid urban and global turmoil. Curators involved in these events have noted a rising interest among visual artists working with sound as a means to offer concentrated, contemplative experiences.
Smolicki and others note that soundwalking can reveal connections beyond what is visible—such as the horizontal spread of tree roots through which sound travels or the impact of manmade noise on marine life, a theme highlighted by soundscape ecologist Bernie Krause. In urban settings, sounds range from the mechanical hiss of infrastructure vents to the vibrating planks of the Brooklyn Bridge walkway, each contributing to the complex sonic identity of the city.
As the world becomes increasingly inundated with visual and digital stimuli, proponents of soundwalking advocate for restoring the art of listening, encouraging people to step away from constant notifications and digital distractions to engage fully with their auditory environments. Events like the Walking Festival of Sound, co-founded by Smolicki, have expanded from Europe to North America, including online formats, promoting soundwalking as both a practice and communal experience that enriches understanding of place and presence.