Stefan Östersjö

The move 'outside' of the concert hall has repercussions for listening and creative practice beyond simply resituating 'music'. The building of an environmentally specific instrumentarium draws on in situ exploration and cultivation of affordances, but also on the embodied pre-existent knowledge of the artists concerned. A sense of space/place and strategies of listening work together both to situate emergent creative practices within a landscape and to take the affordances of that landscape, the instruments constructed there, and embodied musical experience forward into completed artistic and musical works.