 |
|||
 |
|||
 |
|||
|
|||
|
|||
|
|||
[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Jony replies:
Well inside, outside &Mac183;
I wanted to raise this question as a way of teasing from you your current
standing on how sound exists in the world around us.
It’s all very well being aware that the mind extends outwards and that the
universe is vibrating to a point et al, but what has led you to these
conclusions?
My relationship with sound and the boundaries between the inside and
outside oscillates between the two poles; that there is no boundary - that
there is a boundary to be crossed.
The point I was trying to make is, that through the creation of sound in
performance, events and ritual we are trying to create an alchemy that can
close the distance between people and the world around us, so that we can
all feel a part of the whole. Call it 'suspension of disbelief', oneness,
compassion, what you will.
Back in the physical domain, as communal creatures we create spaces to
commune in, calling on all the tools at our disposal to do this. Technology
has allowed the individual to have the power of many voices and to reach
thousands of individuals in one or many spaces simultaneously and seems tohave no limit.
In my experience the closing of that 'gap between us' - has happened most
frequently through the process of listening to and creating sound - that is
why I work in this area.
In my work I try to communicate this through the marriage of materials,
dynamics drawn from organic processes, states of change and transformation.
As a performer and sculptor I do this through the observation of form,
symbol and process, amplifying these to make people look and listen (and
learn). In doing this I can externalise the processes to allow them to
'happen by themselves' during this I can also focus on listening.
We should be more interested in listening and hearing, focusing on this as
a area of meditation, observation in the pursuit of knowledge and
experience. So why do we spend our time performing instead of sitting at
home playing the tambura or listening to the sound of running water and
making life easy for ourselves?
Incidentally what are these 'same old sounds' you are talking about. Have
they come from the darkness of the deep or from a slow human evolution of
thought, accident experimentation and play.
The creation of new sounds or relationships between audience, performers
and space is an important part of the development of culture and thought.
Novelty for its own sake is perhaps wrong, but can lead us to some quite
startling or mundane realisations along the way.
These musical/scientific instruments are the physical objects which allow
us to observe and find ways of creating spaces to find out more about
ourselves our relationships to each other.
Looking forward to hearing more about the formidable picture of the
vibrating world.
Jony