[-empyre-] vibration and movement
Johannes.Birringer at brunel.ac.uk
Thu Jun 12 06:06:53 EST 2014
ah, sort of from the outside in, then.
I recall trying to suggest that immobility (not lack of expression) of course does not exist, that we hear sound moving (as we move), and that what interested me in asking was the question of how you distinguish (and why is there so much measuring going on at InfoMus Lab and IRCAM and other places that investigate and analyze gesture) a gesture from a gesture or a sound from the vibrations that continue (or stop, but can vibrational experience ever stop?) ; I do agree that, therefore, the question "where the 'sound' in sound studies stops and starts is a fraught question".
Marcus Boon wrote earlier that
<The unpresentable aspects of sound and vibration become a model for the unpresentable as such. But I also come back to Nina's point that it's about modes of sensing, about immersion and strategies for exploring an immersive unknown. And in a way I think we're just at the beginning of thinking about these matters >
There are dance practices that are moving from the inside (and inside out), and categories of "expression" would be to weak or not relevant (for butoh, let's say). The imperceptibility, however, is process, and thus part of sound and movement I should think, of what is becoming and what the mover also may very well be listening for or after, when moving (I have not worked with Pauline Oliveros, but wondered what deep listening implies and provokes (she played the accordeon that night when i first heard the term, it was inside the Rothko Chapel on Houston, a meditative space, and the mood was a bit too metaphysical) and experience that vibrational and tactile kinesthetic sense of being in the world at large and the immediate environment and feedback of that environment. The vibrational, as I tried to suggest yesterday, is not unpresentable, but part of the energetic exchanges in the theatre that Artaud imagined to be necessary, thus vibrations move us very effectively, they hardly model the sublime?
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