A R - K 2 0 2 0
Creation in progress. Part 1 premieres with an exhibition in Zürich (CH): Electroacoustic music realized in 360˚ spatialized sound using binaural field recordings with VR music-video concept. Part 2 creative-work, dubbed Aqua Mercurialis, will be released as an album and include poetry liner notes towards the latter half of the year.
2020 marks a point of return to rethinking alienation in the form of the absolute – “Nature” in its infinitesimal luminescence, in subtlety of its enduring atmospheres of presence, light and shadow, leaf and wind, durations of slowness, in tumultuous fleetingness and musical meta-narratives.
The compositions in this year-long investigetion draw upon the sonic tracings of discretized memories and impressions of infinitesimal changes, like the slow transformations of a baby’s voice over the air of a balcony garden or the silent tempo of their soft breath impressing upon the ears of the heart. Compositional work will entail writing for, recording and making use of the elusive, bright and warm timbres of string and wind instruments, delicately unwrapping the hidden peculiarities of their voices using extensive and or minimal digital processing techniques. The resulting layers of instrumental polyphonies will blend into complex multiplous sonorous spaces – a virtual paradise realized in 360˙ with poetry-ASMR and binaural field recordings.
“Reading, listing, I wanted to escape the violent sociology of beauty to experience aesthetics as an even redistribution of the senses across them most banal parts of dailiness. I wanted to write it all down, everything inchoate: light, dust, textile, pigment, sentences. Beauty would be the lust for the complex, unspoken surface of the present. I sought a sense-textile which would flourish outside the humiliating economy of servitude that names us. Within any day there is a hidden dimension both occult and common. The senses might operate on several temporal levels simultaneously, remaining partly in the hidden dimension, as they also eased outwards in the way that, for example, if one had made love afternoon in the room, one later carried a different thinking into the evening streets and also into books. Perception opened, and surface became epistemology. Each category of experience continuously transformed into another. Describing was a way of trying to understand anything about freedom. I believed that there would always be kinds of time that escaped sociology. I made an invisible art of describing, to get to the core of how it works. When I say ‘art,’ I mean the quotodian commitment to a set of techniques, some received, some by necessity invented. I wanted this art to be unrecognizable, to keep it for my own pleasure, and so I read and I walked; I became part of images. Images did exist, but differently than I had first believed, and I couldn’t contain them or quantify them. They were borderless and moved between sensations.”
—Lisa Robertson, The Baudelaire Fractal, 2020, page 92.