Research Catalogue

Focus deals with the ways we engage with sound in an environment saturated by audio media technology. Taking the form of a sound installation, Focus invites the visitor to explore the exhibition space by moving throughout, standing or sitting. Through the superimposition of multiple loudspeaker constellations, Focus sets up sound as a sensitive fabric for the listener to traverse, each point prompting diverse modes in which the experience of the sonorous emerges: as a quasi-tactile phenomenon, as an impression of distance, as an activation of memories of lived or recorded spaces. In Focus, the technology of sound emission is not hidden but rather disclosed, enhancing the physical interaction of the listener with these devices, emphasizing how their material properties breed memories and conditions we utilize to make sense of sound around us.

Documentation for the artistics components of Gabriel Paiuk's PhD Dissertation

Prototype Staging Listening Research

This essay postulates a novel notion of the sound image that – rather than conceiving it as an artefact, a visual surrogate or an exclusively mental entity – defines it as an instance of a process or an operation, unfolding within material circuits, technical infrastructures, and collective protocols. Based upon the image theory developed by Gilbert Simondon in his book Imagination and Invention, this notion enables an account of the variable nature of the audible in a post-anthropocentric context as intrinsic to the forms in which sensorial engagement takes places in singular material constellations.

Gabriel Paiuk | Conservatorium Den Haag, NL Day 2, 10 November, De Bijloke Rotonde, 11:00-11:30 Within Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Deleuze exposes cinema as a practice of thought. Cinema articulates perception, lived experience, and material components through particular strategies of formal organisation. These strategies are presented as rendering particular “regimes” of the image. A fundamental aspect of this proposition is that each regime yields a diverse status of the image, defines a particular mode of engagement with the visual. In chapter 6 of The Time-Image, Deleuze opposes the crystalline regime of the image to the organic one. Within the organic regime, images “assume the independence of its object . . . stand for a supposedly pre-existing reality” (Deleuze 2013, 131) and are articulated to convey a continuity external to themselves. This is the domain of the sensory-motor schemes, where images become components of trajectories and “oppositions within a field of forces” that define a “hodological space” (133). On the other hand, within the crystal regime of the image, the conveyance of an external continuity is interrupted. “It is now the description itself which constitutes the sole decomposed and multiplied object”; the image “stands for its object, replaces it, both creates and erases it” (131), drawing attention to the immanent and multiple conditions of its emergence. Rather than being determined by what they would refer to in themselves: “it is not a matter of knowing if these are exteriors or scenery” (131), it is the way they are articulated that defines its status. Translating this perspective to the domain of an artistic sound practice implies understanding how the status of sound would arise out of diverse regimes of sound. I aim to propose that Luigi Nono’s “No hay caminos, hey que caminar . . . Andrej Tarkovskij” for seven instrumental groups is an example of a work that sets up a crystalline regime of sound. As is the case in the realm of the images Deleuze refers to, it is not a matter of sounds being referential or mimetic to sounds outside the frame of the concert hall; instead, it pertains to how the sound’s status arises out of the logics of the organisation of the work. An organic regime sets up sounds as interrelated figures within an imaginary space, a “hodological” space where parameter variations define trajectories. The claim is that within “No hay caminos . . .” each component in the formal articulation of the piece does not participate in constituting a detached field of trajectories or figural relationships. Rather, the sequence of sound instances is articulated as to sensitise the listener to the multiple threads (affective, material, perceptual) that constitute our apprehension of these instances. Through a process of successive recontextualisations, our active grasp of sound is put into question. One fundamental example of how this strategy is deployed within this work is the way in which the spatiality of sound is dealt with. Rather than building up a plan of formal relationships that would render space as an imaginary field, contrasts are set up that expose the inherent spatial characteristics of every sound. By articulating this strategy, sound is exposed as a multiple instance, its status defined by intermingling conditions. This becomes a hint towards conceiving a practice that takes as its main aim the problematisation of the way listening unveils and our engagement with sound is constituted.