The project, matter of radio, blends elements of experimental music, sound art, performance, ritual, lecture and live radio drama. The project is a divagation; it wanders throughout the questions of the matter of the radio, the radiophonic space and its relationship with the human being.
The work aims to explore the idea of connection and provide keys to be more aware of our entourage, above all, the invisible and inaudible one. It is this, in between two states of consciousness, like the bardo or the hypnagogia or the trance, where we can also locate the radio transmission. What forces are hidden behind the electromagnetic world and what is its relationship with altered states, the trance? Could the radio be an enchantment tool used as an oracle to connect subconsciousness with unknown forces and reach ecstatic states? Are these dimensions parallel to our visible world?
The real ritual is related to a liminal experience. It is an experience that is usually happening on the border of two worlds, two dimensions, two spaces. You are living something that is bringing you outside of your normal existence and changing your status or your belief forever. This is one of the paradigms to create a real ritual and the radio is already such a thing. You are already in a liminal state. You are between here and there, between the voice that is speaking to you from elsewhere and the place where you are as you are listening. You already have a connection with something that is elsewhere.
The Tibetan word bardo (བར་དོ་ Wylie: bar do) means literally “intermediate state”—also translated as “transitional state” or “in-between state” or “liminal state”. Used loosely, the term “bardo” refers to the state of existence intermediate between two lives on earth. According to Tibetan tradition, after death and before one’s next birth, when one’s consciousness is not connected with a physical body, one experiences a variety of phenomena.
The project speaks about the altered states of human beings. States when we don’t see things through our everyday eyes, when something is changing, when we get a look at what is behind reality or behind the reality that we are supposed to perceive in a normal state in our society. This kind of reality is the tip of a big iceberg. There could be more beneath, it could be bigger and this is the exploration of what there is behind belief, what there is behind dreams, what there is behind an idea, what there is behind a human. The unconsciousness of things.
The sound connects me to a world from which i had disengaged. From an early age we learn to analyze sounds and collect information about the world, based on acoustic perception. Nevertheless, sound is still considered ephemeral, and listening to an environment or a city is rarely considered. In the forest, still a highly acoustic place, biodiversity is listened to rather than seen. This work is an attempt to analyse the sound landscape and remodel those same spaces. Its goal is to raise awareness of the sounds that surround us and yet which we no longer pay attention to, acting as if they were dimmed. It is an attempt to reveal a hidden layers of reality through the imagery of the act of listening. If you are disconnected from the awareness of the sounds, you risk being disconnected from your environment. Listening is a practice of life. The relation between listening and the land is the soundwalk. At the frontier between a poetic, ecological and spiritual act, the soundwalk is a practice, an act that relies heavily with the world.
GAME MUSIC – AN HOMAGE TO ROAMING AND SURPRISE
The music we usually compose has more often than not been solely based on the traditional narrative structure of beginning middle and end, the notion that the performance is going to be heard in exactly the order in which it was composed. In Music Hole the linearity is replaced with interactivity. Meaning that as a listener you can chose the order, the form or even influence the structure of the music.