log 012

For a few years now my work deals with the question of Being.  I tend to think about music not as a product or activity but as a lived experience. The listening act ‘becomes’ the music as the music is in the experienced. It is also the act of listening that links the conceptual ideas with my practise, the material and immaterial.

The relation of the ephemeral to Being

First of all, I enjoy playing with others rather than solo. Secondly, it is improvisation in a very different way than studiowork. It is not all about making a lasting piece to be listened to over and over, but rather the experience during a specific moment that will not return. I like to think of the process of experience as a fusion between me, the noise and the other(s). 

I love working in the studio but for me it is very different from playing live. I work according to the premise that audio material comes only from the object itself and preferably uses no effects. Field recordings are carefully noise reduced and filtered as little as possible to keep the ‘presence’ of whatever was recorded. All decisions during a recording process, in the studio or live performance are based upon my listening experience and trying to respond to the ‘object’. In a studio environment it has been difficult to completely refrain from processing the sound because of how psychoacoustics and memory play a major part in the re-creation process when focusing on a subjective experience. Therefore, I am trying to develop all aspects of my practice in focusing on the listening experience in the moment.

When performing live, for instance with the hacked cassette decks, I use blank tapes and feedback generated by two DPA microphones in attempting to tune in to the objects internal and external sounds. I consider the mixer my main instrument and work mainly with the eq. Then I start tuning into the material to see what is revealed to me in that moment. To do this, I try to put myself in a kind of ego-less state of mind. In Zen Buddhism it is called to keep a beginner’s mind and is meant to remind me to keep an empty mind: to be open to all possibilities. In the citation below Timothy Morton develops his thoughts based on Kant’s ‘Analytic of the Beautiful’ from his Critique of Judgement. I find the description of the ephemeral moment very fitting to what I aim for in my practice; how can the material and immaterial be allowed to merge through my artistic sound art process?

‘Kant argues that beauty is an experience of coexisting with an object. In this experience, it’s as if the object and the subject suddenly fuse, like the space inside and outside a vase. It’s only a short hop, skip, and jump from here to an object-oriented theory of beauty. Beauty is the end of an object, because in beauty, two objects fuse.
Sound waves match the resonant frequency of the glass. When they reach critical amplitude, the glass ceases to exist. It becomes its environment.’

By the end of the first year of my MA I kind of sorted stuff out and could present not only a proof-of-concept on my initial idea but unexpectedly I got myself a new live setup that I really enjoyed playing. You can listen to a live broadcast from the Swedish radio of a impro solo set here made in february 2018. The setup consists of two Sony-W475 hacked to cassette delays, blank tapes and 2 DPA microphones and a mixer. 

Comments are closed.