'with-towards' can be thought of as a procedural platform which explores the multiplicity of sound and listening. It is an utterly unfinished place for all kinds of contents related to sound that may not find themselves a home on the prevalent platforms.
This may be just for the sake of escaping the (sometimes subtle) formal expectations what makes a piece of sound, that come with the context of these platforms. Raw cuts, sketches, finished, unfinished, long distance, glimpses, figurative, still lifes, known, unknown, muted, abstract, etc. sounds have their un-thought momentum. Explorations with-towards all other kinds of media or research are highly welcome.
Likewise common modes of listening are invited to be questioned, potentially towards an act of full presence and associative freedom. As Pauline Oliveros [1] puts it, ,,each listener by the act of 'listening' affects the field and thus the form. The form affects the listener in a dance of reflections in the space between. [...] Sounds near one another influence each other. Listeners near one another affect or influence one another with active listening.'' Ed McKeon [2] concludes: ,,[The] simultaneity of listening to and listening with (more precisely listening with-towards)[…]’’

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[1] Pauline Oliveros, Sounding the Margins, Collective Writings 1992-2009, ed. Lawton Hall (Kingston NY: Deep Listening, 2010), pp.88-89
[2] Ed McKeon, The Listening Reader, Cours de Poetique, London, 2016, pp. 52