My understanding of relation is informed by 'relational theories' where the significance of the properties of a phenomenon is relative to other phenomena. Relational spacetime theory tells us that ‘space’ only exists because objects create it between each other. Similarly, social scientist Martina Löw describes how space is created through interaction (Löw, 2008).
We are always in relation. The question is how we pay attention to this entanglement. Relations are not fixed, they transform. The way we relate varies, the way entities position themselves to us changes. We reach and receive, we effect and get affected.
Glissant talks about the relational poet being able to practice ‘errance’, to perceive and work across relational fields (as opposed to the oppressive, colonial insistence on borders and unrelatedness). Following this idea, my work aims to encourage errance on the part of the audience. They can err (wander) between the different elements of the work.
Further, Glissant affirms the multiplicity and diversity of being in relation. The relation is an in-between that exists in the expansion of each entity. For him “in Relation every subject is an object and every object a subject” (Glissant and Wing, 1997, p.xx). This is closely related to Martin Buber who describes relation as reciprocity “...for it affects me, as I affect it.”(Buber, 2008, p.16). In my work the relation forms an in-between that can be experienced as an ever-changing sonic scenography. Inside the relation, between the agents, within a context is where the sonic structures I work with take form.