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Sound As Interstice

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Sound As Interstice Sound as interstice This reader brings together thoughts on the nature of sound; its substance, specific qualities, and potential—with a specific curiosity to its propensity to occupy the spaces in-between, the instertitial gaps between different spaces, times, cultures, and world views, between the interior body and the exterior space. The Middle Matter Sound as interstice Caroline Profanter, Henry Andersen, and Julia Eckhardt (eds.) Introduction —Caroline Profanter, Henry Andersen, and Julia Eckhardt ........................ 4 Annotations—Enrico Malatesta ...... 11 Sonic Harbour—Séverine Janssen ........ 23 Magical stones, echoes, and music for animals and atmosphere: An interview with Akio Suzuki—Tomoko Sauvage ............................... 29 From the Mechanism of Speech to the Mechanism of Meaning—Lila Athanasiadou .......................... 39 Playing Guqin—Carolyn Chen .............................. 47 Siren Song—Justin Bennett .................................... 53 Togethering, of the open body—Brandon LaBelle .... 65 Towards a Vaginal Listening—Anna Raimondo and Edyta Jarząb .................................................... 75 INTERFACES RESIDENTS Jonathan Frigeri ................................................ 86 ooooo ............................................................ 89 Paulo Dantas ......................................... 92 Melissa E. Logan ......................... 95 Isabelle Stragliati ............. 98 The Middle Matter Alice Pamuk ................ 103 Klaas Hübner ........................... 106 Wederik De Backer ............................ 109 Benny Nemerofsky Ramsay ...................... 111 Lucie Vítková ..................................................... 114 Ghosts of the Hidden Layer—Jennifer Walshe ....... 117 What is Performative Distribution? —Gary Schultz ........................................................... 125 The Sound is Breathing: An interview with Beatriz Ferreyra—Caroline Profanter ...................... 137 Hearing is the Only Thing that Works: An interview with Annette Vande Gorne —Caroline Profanter ................................................ 141 Unstable Contacts—Salomé Voegelin ................... 147 100 Questions about Sound and Language —Marc Matter ................................................... 155 Peripheries—Franziska Windisch .............. 165 Flutter Echoes—David Toop ................... 171 Touching Sound—Pierre Berthet and Rie Nakajima ......................... 175 ?reversE in thinkinG — sounD — Mark Fell ..................191 INTRODUCTION The Nature of Sound The impetus for this publication was a reflection on the nature of sound. What is its substance? What are its specificities, and what does that mean for its place in society and the arts? What does it transport, and how can it be described? These and other questions have been explored in the framework of several subsequent research activities, on sound itself, its capacity to connect and be used in participatory art, and its role in creating bonds with audiences through a variety of formats. Sound describes a particular kind of matter-in-motion; a passage of waves propagating through carrier-materials like air and water. Sound is invisible, ungraspable, and ephemeral, giving it an unruly, mercurial character. As a medium, it can itself become a carrier for meaning that often passes under the radar, intuitively, on a gut level. In this way, sound can transport a lot of what is “only” felt: meaning that is hard to name or rebuild as an intellectual construction. With these prominent traits, sound will always involve an interaction: between inside and outside space; between materials meeting in friction, percussion, oscillation; between bodies being connected through vibration; between sound emitters and listeners. Sound travels, hops borders, passes through walls. This interaction is part of life, and for a large part happens involuntarily and even unconsciously. In this sense sound is extensively participative, entangled in the complicated gaps between us. The Middle Matter Hearing in Place These concerns drew us to go deeper into sound as a participatory artistic means, through the symposium Sound & Participation which we organised together with our project partner Ictus in February 2018. The talks opened an impressive scope of sound’s capacity for creating and sharing space, and especially its propensity to occupy the zones in between spaces, positions, events, discourses, etc: it offered the idea of sound as a “betweening” space. The input and questions from this seminar, along with that of the residencies, lay the grounds for the festival Oscillation—on sound’s nature and the present publication, which together serve as an intermediary conclusion of this phase of research. Hearing is always hearing-in-place, and the spaces in which this hearing unfolds affect the experience of listening in manifold ways; physical, cultural, lingual, etc. But this sited-ness is positioned between spaces: between walls, between the “external” room and the “internal” ear, between languages, across divisions between producer and listener, artist and audience. Sound is able to connect on an intuitive level, and as such it obliges us to negotiate and interact. At the same time, music and sound are not innocent; they carry ideology and can have political momentousness even without being discursive. In this sense, sound might be said not only to occupy space, but to create it as well; physical, social, mental, and shared spaces that do not necessarily follow the limits set by architecture, sight, geography, or language. In line with the notion of sound as a material of the in-between—“the middle matter”— the festival aims to connect not only different artists, but different spaces with different ways of working. We feel fortunate to have received the support and input of a variety of partners —the majority of which are our neighbours in the Brussels Canal Zone—in linking their artistic activity to ours for this occasion. Audiences, Reciprocity This investigation takes shape within the framework of the Interfaces network, a project which circles its explorations around the audience. As an arts laboratory, our first curiosity went to the mechanisms of interaction which take place between artists, listeners, and organisers. How, for instance, do understandings of audience shift when listeners are split apart in time or space? When the material is not composed by people but by artificial intelligences or other technologies? When listening is to sound that is unwanted, or unnoticed? Artists might be their own first (even occasionally only) audience, and the sense of audience then grows and stretches as it starts to include collaborators, listeners, those who hear about a work, the communities and contexts in which a practice is developed or presented. An audience might also be deliberately narrowed, when artists direct themselves to specific communities or groups of people. Such changing understandings of audience affect the ways that artists make work, just as changing formats ask different modes of being a listener. Audience and format co-construct each other. The Middle Matter Grounding in Practice To ground these reflections in practice, we invited ten artists for residencies of one to two months at Q-O2, to explore some aspects of sound’s potential to create a shared space. We issued an open call, inviting artists, practitioners, theorists, and educators to propose sound research projects that looked at ways to connect to the city, experimental modes of producing knowledge, and discursive or educational formats. The ten artists we invited worked with very different aspects of sound in relation to sharing, participation, and connectivity: there was work around sound and the meaning of language, creative communal working processes, public and private oral archives, meditations on noise, radio and the imaginary, soundwalks and personal sound maps, sound as an artefact of time spent with people, music as a framework for structuring time with others, the creative use of distribution infrastructure and legal frameworks, and more. These ten artists opened up the scope of the collective research, and through observing their practices and ways of working, we were better able to formulate the questions underpinning both the festival and publication. Each of the artists has been invited back to present her or his work at the festival, and their thoughts and voices are present in this publication as extracts from interviews. In general, for many of these artists, there was a natural propensity to experiment with non-traditional formats. The concert, the exhibition and the seminar are but a handful among a wide variety of possible frames to communicate with an audience. As formats become more established, they develop into a kind of ritual, proposing or defining certain kinds of behaviour to certain kinds of audiences. This can be soothing at times, stifling at others. In more experimental situations, when the stakes for meaning are still fuzzy and not yet defined, the conditions for legibility become a responsibility shared between audience, artist, and organiser. Technology and the Microscopic Perspective This widened scope of perspectives on perception has been fuelled by sound reproduction technologies which emerged at the beginning of the last century and which have not yet been fully digested by the field of the sonic arts. Means of electronic reproducibility, such as the microphone, the loudspeaker, the
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