Tasting the soundscape

EXPERIMENTS

How embodied listening to non-humans influence my relationship with them?

The term "embodied listening" as explained by David Rome and Hope Martin’s in their website: “It is a transformative, multi-modal approach to bringing life-enhancing awareness, insight, empathy and energy to ourselves and to our relationships with others and the world around us”.


Finding: For some reason the singing of the birds have a tendency towards the note A as a ground sound. 

Reflections:

-The rhythm of the tree, as the most clean parameter.

-Following the musicality of the tree, as an instant composition.

-Indeterminacy. 

-Cold weather. Slower rhythm.

 

In the audio:

The sing of an Owl, probably. (Score)


A small bird with high and fast sounds.


A Crowd singing a companion call. in the end.
   Theoretical references    

  • Post-humanism.

  • Karen Barad. "Intra-action"

  • John Cage

  • Dario Martinelli. Of  Birds,  Whales  and  Other  Musicians  –  Introduction  to Zoomusicology. 2009.

     

  • Bernie Krause, The great animal orchestra, 2012

How to co-create music with living non-human agents as an anti-anthropocentric practice? 

-Instant composition with structures.

-Developing listening skills, musical answers.

-

Musical tools for co-creation with non-humans

Sound mapping

Communicating with a tree through music

counter chant, long notes for accompainment

Inmersive sounds:

Slap tongue

Multiphonics

Air sounds effect

 

 

 

COMPOSING WITH NATURE 

Experimental music co-creation with the bio/geophonic orchestra

Artistic Research project. PPS 2022/2023 - Fontys

by David Bello A. 

Imitations and variations with the saxophone.

Note

This chart shows the electric activity in the vertical Ω (Ohm) and the time in the horizontal (t)

Landscape as a music score, in combination with ideas on tthe papers.

This is a transcription of the singing of a small bird, but (I still don't recognize which exactly is)

Fragment from the experiment

-Listening as a starting point for communication.

-Sensitize about the biophonic and geophonic music.

-Developing emphaty with non-humans. 

Click for wachting a Fragment

Experiment No 7  Anti-anthropocentric Performance

 

 

My artistic vision for this experiment is exploring co-creation with non-humans as an artistic 

practice of an “intra- action”, the term that Karen Barad proposes. It opens the possibility that non-human agency has their own value, relations, complexity of forces and interactions where the human should not feel an inherent feel of property on them. Creating a metaphorical and artistic space where I co-create with non-human agencies without leading them but accompanying and celebrating their life is for me an interesting starting point for questioning. 


I work on the question, how could be the esthetics on music for an anti-anthropocentric

practice? I would like to focus on this question because I need to do something closer to a real
performance with human audience, and I would learn from their thoughts for further improvement of the performance.



https://youtu.be/QWk2IGCk-_Q 

Video (only for documenting) of the experiment No 7 Anti-anthropocentric performance.


 
   My Tactic
   

  • Pascal Gielen, “Performing the Common City”(2015)

  • Gielen's analysis on 4 terms provided by De Certeau in the The Practice of Everyday Life (1980), Michel De Certeau. 

  • Earning awareness, transforming my relationship with non-humans

  • Embodied listening

  • The path for a personal revolution

  • Me as a mediator

For this experiment I use a device called Plantsplay which translates the electric impulses from plants into sound (previously presented in Experiment 5). Also I used pre-recorded a audio to be able to have some sentences and a ritualistic atmosphere into the performance.

 

Structure of the Performance