Open Ensemble (2015) for object and headphone. What happens when a performer plays on an instrument without hearing it? How do a body and a mind respond to each other? What does it sound like when the performer excludes him or herself from the existing medium in order to explore a new medium? Sound Place Exhibition, Goldsmiths, London 10-18 May 2015.
Towards Disconnected body
It is the act of creating, the act of playing, and the act of listening.
Open Ensemble is creating a new space for Other Compositions through a disconnect from the actual space, the idea of reconstruction and rethinking. Composition can be a result of mass reflections on things and acting upon other things. However, what happens when a performer plays on an instrument without hearing it? How do a body and a mind respond to each other? What does it sound like when the performer excludes him or herself from the existing medium in order to explore a new medium? The open ensemble is a work for headphones (sound from a radio), and cheers providing a new space for listening and excavating/digging for sound on an object/instrument. The performer—which is the audience—makes a body interpretations for the sounds by listening to something and playing on something else. This work creates different shapes, forms, and spaces, create Other Composition depending on the audience or performer’s reflections and reactions on the sounds they hear from the radio via the headphone and on sound they create on the object in the recent room.
The room offers me a way of thinking and creating work again. The result creates opportunities to be the performer and the listener simultaneously, integrating into the room by being active in the sense of excavating for sounds through the structure of the compositional work. In this case, the room will be filled with energy that can transform the actual physical and mental space into a creative medium existing between art music and contemporary music. I am starting to think how I can stage this work in the Vara Concert Hall in Sweden. It is full of fixed chairs, and so the seats will be my starting point. Composing in this way reminds me of an old memory that was locked somewhere in my brain; memories that do not have the time to look for their origin. My memory is lonely; it has been interrupted at different times. It cannot find a friend besides its shadow, which is unfamiliar. The search for clues leads to the reason for this chaos: silence. The only thing I know is that I bear this process within me, and have to hide it until the right time appears. Regarding the audience in the room: a meeting occurred between the space and the audience which evoked reflections, so this performance began the moment they entered the room, prompting questions of what is it all about? or what is this? This is the purpose of integration, creating a curiosity that leads to trying to find an answer by being active in the room. After a while, the performers discover that it is not about questions and answers, but rather the playful integration of the assets of the room into the experience. When they see various everyday objects, it starts a thought process. And when the audience front driver started playing himself, playing with the room created another memory that is the future (it is not when the time is not now; the present moment is a process not a memory. The process influences the audience to see the objects from a different perspective, when the audience has experienced it.)
Memory is a hidden dimension of the space that has the power to displace. What
do I want to find and explore? I feel empty!
I want to create a work that interacts with the audience through the space, with or without “professional” performers. In other words, I am interested in making a space for listening that reflects critical thinking about the work in real-time. Whilst shaping the other composition, I did not calculate the outcome. However, the objects and the instruments were decided in advance. How did the audience interact with the objects? In the piece I composed for the public, they were the audience and the performer at the same time. For me, it is important and exciting to work with various target audiences, because of their different reactions. In such a process, I perceive new and unexpected ways of listening and acting on an object/instrument, which results to explore Other Compositions.