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VISITING PRACTITIONERS

Jessica Ekomane

Berlin based musician and sound artist Jessica Ekomane has a unique perspective on sound that she demonstrates through live installations and performances. A key part of her sonic vision is the interplay between psycho-acoustics, perceptions of rhythmic structures and the interchange of noise and melody. Questions grounded in the relationship between individual perception and collective dynamics permeate throughout her work. Yet what fascinates me the most is her ability to turn sound into a transformative element through mediums that ignite thought and psychological response, as opposed to its more traditional roots in feeling and emotion.

Her first record released on Important Records, Multi-vocal, is a prime example of Jessica’s utility of psychoacoustics and perception to play with the capacity of the body to understand complex knowledge. Also interesting to note is her use of quadraphonics to further enhance the spatial imagery and tension of the track.

Serving as a gateway into the comprehension of rhythmic structure and its effects on the mind and body, ‘Multivocal’ was made using 13 metronomes in MAXMSP (a visual programming language for music and multimedia), all tuned to a different pitch and with differing BPMs of 1ms. The listening experience starts with all pulsations beginning at the same point, layered on top of one another in static cohesiveness. However as time passes, the inevitable shift from vertical to horizontal begins as each and every metronome gradually starts to go out of phase with one another, creating an ever-changing rhythmic and melodic structure over the course of 20 unfathomable minutes. The polyphonic maze that ensues does not throw the listener into an abyss of motion however. But rather eases one into a meditative state that feeds off of this sonic organism. Much like the hold and release of consciousness in sleep, without actively engaging between one moment and another, the human brain is wired in a way to glaze over subtle differences that may occur. The beauty of ‘Multivocal’ therein lies in the overall temporality of said situations, where waiting for the next event may be futile in comparison to the appreciation of the process as a whole.

Multivocal | Jessica Ekomane | imprec
Cover art for Jessica’s track ‘Multivocal’

As I delved into it’s contextual meat and potatoes, a specific psychological practice stood out to me as one of the prevailing conceptual forces behind this sound piece. Namely, that of ‘Gestalt Psychology’. The German word ‘Gestalt’ has no exact equivalent in english, and is usually translated as ‘form’, ‘pattern’ or ‘configuration’. It’s proponents define it as the [physical, biological or symbolic configuration or pattern of element so unified as a whole that its properties cannot be identified from a simple summation of its parts]. In layman’s terms Gestalt psychologists emphasise that [organisms perceive entire patterns of configurations, not merely individual components], i.e ‘the whole is more than the sum of its parts’. This opened up a whole new way of thinking for me personally, as someone that tends to overanalyse specific elements in thought, sound and life in general. As I proceeded to listen to ‘Multivocal’ for a second time, consciously losing myself in its overall intertwining nature, I found myself perceiving its complex structure in a way that was much easier to retain and place in memory, and in turn giving me a deeper appreciation of its meaning. Jessica’s ability to summon thought processes in such a way can open up avenues of sound exploration that pave the way to out of the box thinking. At the very least, it did so for me.

The Gestalt's Principle
The 5 main principles of Gestalt Psychology

Her catalogue of works all give rise to, in some shape or form, important personal and interpersonal questions. One other demonstration of this was her commissioned piece, ‘Citizen Band’ for Ö1 (national Austrian radio station) and Musikprotokoll festival in Graz. Namely, a radio intervention using the space between AM and FM as a [range for short-distance communication between individuals], [Initially thought as the « poor man’s business-band radio]. Used widely by the working class, specifically in this case, truck drivers in the US, this intervention highlights ideas of classism by allowing differing voices and ears on our social hierarchy to meet via the frequency spectrum. However, what i found most interesting about Citizen’s Band is that anyone can tune in, making it public domain. 30 nationally broadcasted minutes of anonymous conversations, that allow us to peer into, what some turn out to be, very intimate conversations. I found that the intrusive and invasive nature of this piece of art gave rise to many questions. Were the voices aware that they were being listened to? Were they asked for consent? If so, would that have taken away from the pieces vulnerable innocence and, as a result, made it less thought provoking. An introspective work that questions the nature of privacy, Jessica shows how, through sonic voyeurism, the act of displacing one context into another can reveal hidden structures.

Flashback Friday: CB radios are still truckin' - FreightWaves
Truck drivers using a Citizen’s Band enabled walkie

A heavy involvement in the physical aspect of making and participating in sound, most of Jessica’s work takes place in, but is not limited to, art spaces and music venues. Seemingly, anywhere that fosters creative inclusivisity. Her belief pertains to the idea of social ritualism that takes place when people/ communities engage in music. Actively opposing the class disparities in other forms of art. This idea of inclusivity extends to her extensive use of rhythm in her compositional work. For even without a solidified background in music and its theory, everyone can react to and understand rhythm in their own way, giving it more democratic value. An intriguing concept in which complex ideas can be transmitted through body knowledge. I would personally describe her as an abstract sonic linguist that uses the phenomena of trance, rhythm and open ended imagery to relate to human beings on an entirely different plane than those that we are used to. A refreshing approach to the division between body and mind her work has given me a deeper appreciation of art that i may not have understood before, whilst also inspiring me to give equal amounts of attention to the way I intend to touch an audience, the separate components of my musical work, but most importantly how its overall fusion is a more intricate art than I once deemed it to be.

Categories
VISITING PRACTITIONERS

Alexandra Hamilton-Ayres

A rather insightful view into the world of commission based scoring, Alexandra Hamilton Ayres touched on many areas of interest that stood out to me a great deal. Her early orchestral experiences echoed a similar spoon-fed, linear and numerical take on music that I had underwent playing in orchestra’s growing up. However her summary of the advantages that playing in an ensemble can offer has given me a newfound faith in its ability to better my ear, composition and reactivity as a musician and sound artist. All of which reinforces a coincidental decision I’d made over lockdown to join the Aeolian Orchestra.

Her choice of instrumentation to contextualise a plot was also interesting. Particularly in the soundtrack to Douglas King’s ‘Do No Harm’ based around a woman with Obsessive Compulsive Disorder (OCD). Alexandra’s use of the ‘Sousaphone’ to create brassy cyclical tracks, ignites the protagonists inner voice whilst her repetition of motif’s and use of effects (delays/ granular filters) bring this idea of perfectionism/ attention to detail and overwhelming routine thats associated with OCD to the forefront of the image. The importance she seems to place on textures to create moods and (in ‘Do No Harm’s Case) build climactic tension is a thought process that will definitely stay with me.

Digressions

Leading on from my research into Alexandra’s work I discovered an artist she had worked with called John Taverner. What stood out the most to me was his use of The Tibetan bowl, accompanied by a string quartet, in his piece ‘Towards silence’. This example of incorporating traditionally non musical components/ instruments into a song-like sound piece pushes my own preconceived idea on the the boundary between music and meditation. The four part score, based around a school of hinduism called Vedanta (“a waking state, a dream state, a condition of deep sleep, and “that which is beyond”) [http://5against4.com/2012/04/07/john-tavener-towards-silence-european-premiere/] is told through emotive violins, seamlessly weaving around the ethereal textures brought about by the Tibetan bowls reverberations.

For symbolic reasons the bowl is struck every nineteen beats, yet as the fourth movement begins it increasingly becomes an omnipresent force, occasionally engulfing the quartet’s delicate textures, and as a result reinforcing its mood, at times eerie, and at others up-lifting. This marriage between melody, harmony and hypnotic reverie takes one out of their head and into a body high, introduces momentum and movement, but most of all gives us the incomprehensible sense of continuity, as if the piece carries on, past the bowl’s final note, into eternity.

Categories
Psychology

WinterGatan & Psycho-acoustics

The seemingly complex and brilliant structure/ instrument ‘the WinterGatan” has 2000 marbles at its disposal, trickling up and down its skeleton to trigger the instruments within. Whilst an intelligently put contraption, this idea of limitations comes into play as the melodies and rhythms one can procure from the machine are tonally bound to its capabilities of what the marbles can trigger. Whilst other more traditional instruments would allow for more control. Is any instrument really free of limitation or is it that limitation that breeds the creative spark in the first place?

In one of the other videos, Your Brain on Sound: Aural Illusions, MP3, and Psychoacoustics, Jack Moffitt describes differing ways in which we percieve sound. One technique used by many composers for visuals, called Shephard Tones stood out to me as particularly interesting. A sound loop that tricks the brain into thinking its continually going down in pitch by layering multiple sine waves that move in differing directions.

Categories
Guidebook

‘A little guidebook for home listening’

Conceptual and a more thoughtful approach on how to take field recordings.Training ones ears to understand the motivations behind sound and how they effect us, both collectively and personally. Methods of listening can be likened to meditation. The difference between noises that are impersonal to us and others that have meaning, whether that is emotionally or physically (such as a rooster’s call signifying the break of dawn). This idea of sonic presence. Immersion.

This idea of presence in sound creates a more profound emotional response as opposed to a visual image recording as our senses are always working together

Bob Watts once said he got good art ideas only in the country in “Tree Painting” he left color markers dangling from branches of a tree and just grazing a large sheet of white paper on the grass below at his farm in Pennsylvania. He would set this up one day, then drive off in his Citroën Mehari and return the next morning to harvest the art.

This idea of cross pollinating creative practice with physical subjects, such as nature. Perceived as random but also as the expression of a certain organism(s), whether conscious of their output or not. It reminds of a quote I once heard by the poet David Whyte – ‘The conversational nature of reality’

References

https://moodle.arts.ac.uk/pluginfile.php/1016417/mod_resource/content/1/A%20little%20guidebook%20for%20home%20listening.pdf