Activation and Participation in Ecological Sound Art
Summary, in English
I Play Cement (2017-19), by Halla Steinunn Stefánsdóttir, initially created for video and 8 speakers was reworked for DARE into a binaural headphone version. It is part of a series of works based on activation of a site, and represents a performer’s extended and active engagement with space: a method to break away from tradition, exploring how new aspects of the environment’s structure or the oikos can be revealed through radical assemblages.
The second work is drawn from the participatory approach embodied by Östersjö’s practice of aeolian guitar performance, in which a guitar is stringed around a tree, and performed in interaction with the wind. The player becomes part of an eco-system through this performer-guitar-strings-wind-tree assemblage. The performance is presented through the video installation Bunkeflo Strandängar: site-specific resonance with aeolian guitar #1.
The concept of “fleshy listening” was coined by Stefánsdóttir and Östersjö. “Building on Manning’s elaboration of fleshy touching/touch, fleshy listening/listen merges the terminology with a performer’s tactile thinking, in thinking-through-listening. This thinking of the sonorous BwO, i.e. fleshy listening implies the expressive potential as we perform and thus compose with our bodies” (Stefánsdóttir & Östersjö, forthcoming).
The contributors also participated in the panel, Plateau 4: On Music Performance. Chaired by George E. Lewis. With: Guy Dubious, Fredrik Hedelin & Robert Ek, Alex Nowitz, Stefan Östersjö & Halla Steinunn Stefánsdóttir, Joana Sá, Chris Stover
- Teachers (Malmö Academy of Music)
Machinic Assemblages of Desire
2019-12-09 - 2019-12-11