(reconciling in the observation of feedbacking)
Commissioned at the European Capital of Culture #ESCH22,
Radio Art Zone
Curation by Rodrigo Rios Zunino
for"Lifewave: The Infinite Feedback Loop That I Am"
Selection : Sur Sural Festival 23
Bolivia & The Latin Americas
How does time pass when its flow is dictated by feedbacking (and not markers)? to create a space for feedback to speak and to envelope itself, and introduce organic feedback to the tendencies of overtones, walking in an environment of sonic shifts. In these shifts there is space to escape the predictability of ‘true tones’, and welcome tones which can neither be read nor monitored, which largely express itself by creating varying degrees of timesthesia.
Feedbacking lets go of any attachments to the sound’s previous life. We call upon the previous lives and encounters with noise, with radio waves, with bugs and with gestures made in silence, plucked only thinly slipping past sonic booms, touching the disembodied aspects of a breath-like thing in a hall of sonic mirrors: reflecting on reflections upon reflections.
Gaming perceptually ‘Talluk’ is sound art piece which emerges from the first folktales of the arrival of speakers and microphone, a glaze off the stage, taking everyone by surprise, creating concern and curiosity, and travels through the current anxieties of sonic traffic and humm, offering temporal envelopes to pass by the spaces of traffic, both inside our throats and in the disorientation of feedbacks.
A queer sonic care, which tries sincerely, by using methods of empathy, dreaming inside the projections made by feedbacking, and trying to converse in their tonality, using polyphonic singing and overtone singing as tool to mimic a similar brushing off, and with breath approaching the void, whose arch is generated and protected by the feedback itself. Meditating alongside it to witness a coexistence conditioned to be sensorily shrugged off and hoping for a sonic tussle and magic.
Poesis of awareness, familiarity, extensions and echoes, Talluk is as old as the very instinct of equalizing resonance, where biases towards the spontaneous are a few, and sonic actualizations of inclusion are softly, deeply meditated upon…
Excerpts from our podcast with Rodrigo:
R: If you had to define feedback in no more than two sentences, what would you If you had to define feedback in no more than two sentences, what would you say?
-Polyrhythmic interactions without markers and attacks - a buzzing which extends into dreams. A sound bodily becoming aw
R: What is or are your favourite types of feedback
- Feedback pulsating at a speed which makes it appear immobile, usually when more than one feedback crashes into another to generate a third independent tone.
R: If you could suggest a quote or paragraph or text or poetic image or reference or etc. ... linked to this invitation, what would it be (the answer can be one or more links, a sentence, a ....)?
-"The hardest stone, in the light of what we have learned from chemistry, from physics, from mineralogy, from geology, from psychology, is in reality a complex vibration of quantum fields, a momentary interaction of forces, a process that for a brief moment manages to keep its shape, to hold itself in equilibrium before disintegrating again into dust, a brief chapter in the history of interactions between the elements of the planet, a trace of Neolithic humanity, a weapon used by a gang of kids, an example in a book about time, a metaphor for an ontology, a part of a segmentation of the world that depends more on how our bodies are structured to perceive than on the object of perception—and, gradually, an intricate knot in that cosmic game of mirrors that constitutes reality. The world is not so much made of stones as of fleeting sounds, or of waves moving through the sea."
- Carlo Rovelli
Sonic Mukhwas (सॉनिक मुखवास)
created specially for festival sur aural, bolivia and latin america
SANAR SONAR (2021)
" The festival focuses on a series of emergency broadcasts, seeking the healing of the planet and of those who live on it. A call for a community sound action that invokes a new, old and eternal paradigm of balance and well-being on earth"
Figure : A type of Mukhwas
(#Sound #Pleasure #Decolonial practices #Indigenous peoples #Anthropocene #Well-being)
Mukhwas/मुखवास in Hindi, are colorful seeds’ mixes people chew after and in between food mostly all over India and South Asia. They help with digestion, freshen the breath, and primarily ‘cleanse the palate’.
Our work ‘Sonic Mukhwas’ is a set of sounds/sensory event (intimate and individual to the listener) which help in cleansing the sonic palate by distancing from stubborn sonic memories and so being ready in receiving new sonic textures, forms and shapes.
An event that creates a dump for stagnant sonic memories and refreshes time before one enters another sonic journey.
Sensorially, a bathing/resting/cleaning has been more reachable for other senses than our ears. The ear is also without auto-filters, it takes in most that is in the environment without for example shutting the eyes, or retreating the legs. This is why there lingers a need to aid the ears in refreshing its perception and take.
It is a mixture of sonic stimulus which caters to different frequencies and densities of material associations, a teaspoonful of each sound hammering at its own memories. Our mixture tries to practice following each sound till its descent, to somehow offer ourselves tiny sonic closures.
It tries to give a (heavily delayed) push to the bundles of sonic memories piling up to make space for what could come after. It brings to surface accumulated (dystopia like) debris.
It promotes poetic translations among listeners, and addresses (by using reiteration, bass, and time signatures) the promptness to begin a presumptuous sonic row and laziness to resolve it.
In texture it resembles the actual Mukhwas, and accommodates also the actual physical sounds of
teeth, tongue and throat going through stages of palate cleansing (to reinforce our only cognitive reference), transcends into our sonic habits and dumps and begins to deconstruct them before something/someone new sings. As a decolonial gesture we stand virtually at the gate of the festival distributing on palms of our friends ‘three pinches’ of Sonic Mukhwas and praying to facilitate their new hearings.
Some sounds that catered to palate cleanse our sonic dump and nostalgias and helped create Mukhwas include sounds of spraying water, machine springs coming lose, ice rivers, butterfly wings flapping, and grinding dry rose petals and different seeds along with imagining and designing sets of sounds and vibrations which push us into decluttering.
In the piece, the many bitternesses of sound experiences also come to the forefront to try and unclog sonic drainage. It tries to bring near the reality which sounds shape even when we choose consciously not to hear them, prays to take time to place self at a distance from the sonic environment, and then reengage to un-influence the responsibilities of perception. It uses ear popping as a funny catalyst to maintain the rhythm and through distancing differently (panning) tries to resolve the passive sonic immobility.