(photos Herre Vermeer, installationview of (Non) Humanism & Animism)
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.
(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).
BIG SHOUT OUT to De Player in the heart of Rotterdam, who yesterday organized E-ARTHHA a fantastic and very inspiring event staging Benny Nilsen, Max Franklin, Douglas Kahn. As well my own work performed by the wonderful viola player Maya Felixbrodt.
Cathy van Eck writer of the book Between Air & Electricity: Microphones and Loudspeakers as Musical Instruments (ed. Bloomsbury) published a wonderful article today about Kropka na Ogonie & Soroka Fruwa (2016). You can read it here on her blog. Check it out !
Gender, voice, language, and identity are four important notions for musical creation, for the shaping of a canon, and for the interactions in the field. All four notions are strongly contextual and carry an inherent sense of paradigm and otherness. Other and self are defined via orientation and history, expressed via voice, and confirmed in language.
In this publication, these four core notions serve as a set of lenses permitting different perspectives on one another. However much the field of the sounding arts might pretend to be tangential to such affections, they provide important grounds for musical creation.
Some twenty artists, including myself, have created a variety of outputs – as different in form, strategies, approach, and language, as they are rooted in a variety of sub-fields within the sounding arts.
GROUNDS FOR POSSIBLE MUSIC is edited by Julia Eckhardt/Q-02 (Brussels), published by Errant Bodies Press (Berlin).