At the Intersection of Life and Art
I have had a growing feeling during the last year or so that I want to introduce more of a human element, or some other element of nature in my work. Something which connects the piece with the human nature of the receiver. It could be a message, elements of imperfection (sequences played by hand etc.) or recognizable organic sounds.
In electronic music, artists use computers and other electronic machines which tend to sequence notes along a perfectly regular grid. Notes which' pitches correspond perfectly to the desired note and using sounds that are electrically or digitally generated. In order for the artist to make the music come alive and sound original she may need to use processing and other techniques which introduce imperfection, thus creating an emulation of something more organic.
I want to start in the other end of the spectrum. To use technology to amplify, twist and arrange sounds of nature as well as sounds of everyday life happening spontaneously in our urban surroundings. Playing with the time and frequency domains of recorded sounds, hidden micro universes of textures and rhythms can be discovered. Here, technology is used to extract something which is already there. Nature is the creator, technology the extractor and refiner, and the artist becomes the explorer, art director and conceptualizer. Radically slowing down sounds, working with spectral and granular processing, it is possible to zoom in and unveil nature's creations at a microscopic level and present them in a musical compositions. I often find a sense of balance, harmony and pleasant randomness in these recordings. Perhaps non-intention is a powerful factor in the creative process. And I embrace the notion of John Cage who said that:
"Everything we do is music". "Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 miles an hour. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects but as musical instruments."
When I am moving around in the sonic landscape of Berlin, in nature or inside reverberating buildings I always hear evoking sounds that I would like to capture and use in my work. Quite often, it is the more subtle sounds in the distance or the late decay of an impulse that have the most interesting character. I am on a mission to capture and manipulate these sounds, and also combining them with footage. In the visual domain, the same principle can be applied; capture footage of seemingly mundane and incidental events and objects and use digital processing to present it from a different perspective. The message is to highlight the beauty and complexity of events that are all around us but which would most of the time lurk in our subconscious and pass us by unnoticed. Be dismissed as noise.
In his article 'The Aesthetics of Failure: Post-Digital Tendencies in Contemporary Computer Music' from Dec 2000, author Kim Cascone outlines some of the fundamental characteristics of the glitch scene. Although artists in this genre mainly work with electronic sounds, I see many similarities with their approach and philosophy; the microscopic approach to sound manipulation, bringing forth the unintended, focusing the background 'noise', and the digital processing tools are the same. Cascone writes:
"The data hidden in our perceptual “blind spot” contains worlds waiting to be explored, if we choose to shift our focus there."
Glitch artists not only welcome sounds from the background, but also technical 'failures' and artifacts which become compositional elements. There is undoubtedly something interesting and very human about 'failure' and imperfection. My feeling is that most people are more prone to connect with these phenomena rather than success and perfection. We can connect with an artist we do not personally know by hearing the music and absorbing the message. And we can connect with others in the audience because they also feel and open up as a response to the presented work.
"It is failure that guides evolution; perfection offers no incentive for improvement." — Colson Whitehead (1999)
"I would only observe that in most high-profile gigs, failure tends to be far more interesting to the audience than success." — David Zicarelli (1999)
Failure is a crucial and inevitable part of life and I believe art needs a generous portion of life in order to be truly compelling, so why not include and expose failure. For the piece I am working on, I am digging deep into my recordings and focus mainly on non-intended rhythmical content. From these more or less processed sounds, I am building a hypnotic soundscape which will hopefully feel organic and electronic at the same time.