We live under constant visual stimulation these days. But for most of us our ears are still our primary sense organ to engage with the world around us: for orientation, to detect possible threats; either create a feeling of safety, comfort and… even belonging. I have always been curious about our emotional responses to sound and our tendency to – regardless of the degree of abstraction – create meaning and eventually a whole (imaginary) narrative around it.
Title: (Non) Humanism & Animism
Subtitle: Absental Dynamics
Performers: But What About
Composition, Concept & Scenography: Aurélie Nyirabikali Lierman
Instrumentation: speaking voice, bass clarinet, frame drum, prepared ukelele, kalimba, berimbau, double windwand bullroarer, melodica, toy instruments, foley, blue tooth speaker, electronic tape
Support for technical realisation: Ruud Kluten (Muziekhuis, Utrecht)
Programma & Venue: Senses Working Overtime (Het Huis, Utrecht)
Performance Data: 07 en 08 september 2018, Gaudeamus Muziekweek 2018 (world premiere)
Commissioned by Gaudeamus with support of FPK (Dutch Funds for the Arts)
(photo Herre Vermeer)
(Non) Humanism & Animism is my new series of sonic researches zooming in on the semiotic power of sound and also acoustics: conceived as a performative installation and an attempt to unfold various sonic perspectives as well as sonic choreographies. In my first ‘episode’ of this series – subtitled Absental Dynamics – all is an exploration into the single perspective of how we humans perceive sound: how we hear and listen. Hence a set up that can accurately represent the human hearing apparatus: every listener receives a set of headphones to listen to binaural sound (3D audio).
Absental Dynamics is the forerunner of a performative installation in which I will integrate a more inclusive view on the act of listening: reflecting on interaction and communication with humans as well as with non humans and other sentient beings (e.g. animals, plants, inanimate objects, spirits).