Performing Lost, Stolen and Misplaced Sounds
This event brings together a group of international artists and theorists who work with sounds that are in some sense illegitimate. These sounds (and modes of listening to them) are particularly contemporary. They play on textures and moods conditioned by shifting economic forces, changes in our understanding of the role of the state, and the fragmenting of identity politics. Here, the illicit listening of the eavesdropper taps into the anxieties and potentialities of an era of surveillance and privatisation. The uncanny voice of the ventriloquist speaks of the encounter of human and non-human agent, and asks: who is controlling whom? The voices of the past and the ghost in the machine haunt the proceedings and insist on a reckoning with both history and the future that is nevertheless full of gaps, multiples and indeterminacies.
This event is informed partly by notions of ‘acousmatic’ sounds, or sounds whose origins are in some way obscured or indiscoverable. As theorist Salomé Voegelin suggests, however, this is not to figure origins as singular and fixed, but to closed up thinking about context as ‘a plurality of things thinging’ (Voegelin, 2015). This focus on plurality extends to ideas of the live and recorded, so that the distinction between them is understood as dynamic and subject to interpretation.
David Helbich performing:
No Music – ‘Ohrstücke’, a performative rehearsal
No Music approaches listening as a performative act. The event triggers musical experience without being actually music.
This lecture-performance is neither a performance, nor a lecture, but rather a rehearsal for a piece, that you can take home and perform anytime you want for yourself, wherever you want. You will learn to read a score, there will be a conductor, performers (us) and audience (us as well). No sound production, still a musical progression. Introduction, development, finale. Still no music.
The acoustic results change radically with every new location, still the piece keeps its structural identity. Together, environment and composition dissolve into the responsibility of the listener him/herself; it becomes your own thing, as personal as a bodily experience can be.
Instead of a proper piece the work this is more of a practice, an attitude towards surroundings and awareness. Rules without control. Freedom with precision. Awareness without yoga.