I employ an exploratory and interdisciplinary approach to the performative aspects of ‘sound in space’, treating the acoustic environment as a hybrid term intersecting various fields.
We all have seen and heard a piano. It’s sounds assume an immaterial quality that allow it to permeate space. From warm, and close as we stood next to the instrument for a first encounter, to distant cues reverberating in a giant concert hall, our memory has an infinite palette of collected piano sounds.
What happens when those salient features, aural, visual, and ambient shift and intersect?
Does our assumed concordance of them, now altered by media technologies, have an impact on our sense of movement, creativity, agency, resonant subjectivity towards space?
Does our sense of material possibilities in sound change, expand?
Does our connection to them change as they are being re-imaged, re-interpreted, and re-used?
In that case what does sound signify in disparate times and places? As the aesthetic standards navigate, do we move towards more inclusive ones than any possible now?
On the program:
Nothing is Real by Alvin Lucier, arr by Chryssie Nanou for piano and virtual tea-pot
Primitive , TBA by John Cage, for un-prepared piano and electronics
Shadow of Bells by Hans Tutschku, piano and electronic sounds
108 Troubles by Rob Hamilton, for piano and arc of sound