This exposition is an accompaniment to the artistic research process tied to my Ph.D. dissertation, titled "Towards a Response-able Com-position Practice: Entangling with Humans, More-than-humans and Materials" (see reference). The exposition provides a condensed and compact format of information allowing the viewer/listener to trace the process, mainly led by graphics, sound files, along with short informational and contextual texts.
The research began with my curiosity to attend “otherness”, looking into the interface of connection during social sound engagements with the other from the composer’s point of view. I look into the relational interface through a series of epistemological postures, informed by strands of feminist, new-materialist, and non-anthropocentric perspectives. My incentive is to explore and offer relations that are experienced through social, embodied, and entangled sound practices through investigation of multicentered and generative acts. And so, with the model, I offer a practice that reads 1) every act as relational, 2) every relation as happening with an active embodied agent, and 3) propose a series of acts explored through web of social connections, highlighting relational-ontological positions.
In the composition model, relationality focuses on perspectives of response-ability in the act of com-posing with human, material and more-than-human agents. I call this model Response-able Com-position (RC), as the aim of the practice is to generate and cultivate various abilities to respond, and trace these responses within the act of com-position.
Instead of placing the performer/composer's agency at the center of the composition process, the model widens and shifts the center to other humans, non-humans and materials, where they are no longer the object of study but the generators of information itself. By privileging such position, the whole proposal revolves around resonances and potentialities consist of listening-within entangled relations. Listening as performative auralities entail: listening through aural analysis, tactile and motion-based listening (performance), and listening-back to the process and re-evaluating.
Fulya Uçanok, 2022