Monday, October 14, 2019

Call for New Animism: Received, Listening for the Reply. Notes for a Lecture delivered (partially) at Murmurans Mundus Conference, Sonic Ecology & Beyond, October 3-5, Usti Nad Labem, Czech Republik


Call for New Animism: Received, Listening for the Reply 

please be aware that these are only my notes for the talk, not what I actually delivered


Atmospheric Distubances inside Hranicar Gallery Space, Usti Nad Labem 

Call for New Animism: Received, Listening for the Reply 

     my working title for an inquiry into how constructed spaces for listening may or may not be functioning to bring about sensitivity to the actual winds of the real weathers, nueronal or cosmic, global problems and the limits (of controlling) interspecies communications

 --- or ---
Where Does the Listening Really Begin?


   * the working title for the sound performance I presented at the Murmurans Mundus conference  -- but which title was changed to...

Where the Wind Begins, after the actual performance



this is the drawing for my tech rider for my 4 channel dissemination sent to the phonon crew


 Part 1

     Some if you may know the scene from the extraordinary film of Satjit Ray called Pater Panchali where the children hear the sound of the locomotive train & then run to watch as the machine advances down the track belching huge black coal smoke into the sky.
They greet it as the arrival of an exciting new otherness. They wave at the wave of the industrial colonial future that probably does not see them. That its an image of death only seems confirmed much later. But the sound is the harbinger. The film goes on with the music of Ravi Shankar and the images celebrate the beauty wonder of small creatures flitting across ponds and living small lives. The music of the subcontinental Indian culture seems to celebrate and enshrine the lives of small creatures whose weave and shuffle are bound into the biogenetic material that, for those of us who still feel evolutionary heredity in their bones, we can think of as the lives of ourselves, our voices. In the culture of the subcontinent we also find the most ancient respect for the concept of sound as a generative, propulsive and positive force of elan vital. What breathes well lives well. Breath in and out with an O-shaped mouth, you'll feel better. It's this somewhat, or entirely childish way of greeting even the terrific deathly machines with glee which I call animism – the most ancient philosophy among humans perhaps. One thing for sure is that if I wanted a propaganda for animism it would be this one and backing it up is the great Hindu religious and philosophical tradition firmly rooted in waves of sound.

    Yesterday Tomas Senkyrik's lecture and performance also demonstrated a dynamic relation to personal atmospheres that in the American ecopoetics is called “the local” – and the local celebrates and focuses on the lives and sounds of smaller life-spanned creatures whose small and yet crazy passions for life create marvelous resonance regions. Resonance regions is a phrase that I adapted from the environmentalist Peter Warshal 



 – who was concerned with Luminosity Locales. His studies revolved around the unique  ability of biological entities, accidental or not, to store packets of photonic energy for later heat-conductive processes. “The Sun is the initiator of all sugars."  Energy storage for later use is seemingly the essence of the biological paradigm. It takes many locations and many regions to result in this resonance that we call the world, the planet earth, the galaxy, the cosmos. How we store data in the hive-mind may be similar to how primordial life-forms configured their nucleic acid lattices in limestone imprints patterns which are the shock-waves of ancient volcanoes or ridges of sands when sea-water recedes.

  Tomas' presentation of the local resonance is something quite in contrast to Peter Cusacks' presentation of the dessicated Aral Sea Basin and the idea of recording dangerous places. 

In the world of Tomas's Moravia we meet his ears in his yard, at some wetlands 5 or 10 km away, in his basement with fermenting plums, in the dovecote of his grand father. All of these places speak to us of the local and the familiar, the familial, where agency is clear, detectable and in a sense reassuring of life-cycles and continuity with nature. 

Peter's work within the dangerous places, disaster aftermaths, depleted zones, on the other hand confronts us with either an undetected agency or one that is alien and unfamiliar, representing an absence of familiarity, often in the form of the locale of a disaster or a place that is no longer a place, like the coal mines in Germany, holes in the space and time and earth. So, I underline with this two senses of location and distance woven together by technologies. And semantics.

Usti Nad Labem, View from Student Residency Hall, 11th Floor.

Part 2

   "Our world is textile." 
   --  Jérôme Jolibois (Brussels-based Nudian Activist)

  Throughout my talk you will hear me use the metaphor of weaving quite often. It seems inescapable since I've long ago married the cilia of the inner ear with this ticklish interface of neural to and fro whose consciousness is sound. Penelope, wife of Odysseus, is perhaps the most famous weaver, spider-lady, of the West, for she also unweaves by night what she weaves by day -- tricking time and minds -- (the funeral shroud for her missing, thought-dead husband). William Blake also wrote that Space and Time were woven in Enitharmon's loom. Jerome Jolibois' idea about textile fascinates me. He identifies textiles with civilization and clothing, the wearing of which hinders his feeling of being in contact with the winds. The winds are also in my writing here not merely as gusts of air but as carriers of ideas and emotions. We both shelter ourselves from winds but need the winds to push the wheel of the seasons and the signs of those seasons sound clearly in the winds

Very few people can say winds are "insignificant" (unless they've never felt them). The idea that the global environment speaks to us with the phrases of wind is the root of my idea that we should listen to the voices of the planet that are telling us things we might do well to learn. My pleasure therefore is a call for new animism. Listening closely may be the key to the revival, of resonance research and cloud mapping...

"The noise of the world
                                is just wind
                                           changing names
                                                            changing sides"



    These words are taken from Yannick Dauby's recent installation called the Noise of the World, in which he draws a series of portrait-frames around sounds captured at Green Island -- each episode opening and closing with an ominous clanking of prison door. The island was once a penal colony and he explores in some instances the borderless-ness of sound which might have reachrd the incarcerated from the outside world. The prison of listening was an unlucky, unhappy phrase that came to mind, as I imagined all the other senses being limited, most active freedom restricted, no wind to blast, nor to caress, the skin. Often when I sit in my own home or studio positioned optimally at center between my stereo monitors I wonder about what I have been doing with my time, this way, putting myself at center, constructing the middle. But I am more or less free. I am a bit like Penelope though, weaving and unweaving recorded time frames. I am not waiting for Odysseus but maybe trying to deceive the Master Death waiting in the wings

 
beautifully colored & likely toxic sludge by-product of the chemical factory fires in Rouen


Part 3

There is one little fellow named Ecology,
and in time we shall pay him more attention.
   --Kenneth Burke, 1937

(thanks to Minneapolis drummer & afferent musicologist, Davu Seru for the citation)

       My acoustic ecology underwent a sea-change when I discovered, or noticed rather, that I spend a tremendous amount of time trying to micro-manage or construct my sonic environment, creating orchestrations of my surroundings. I re-lived a 2 month back-packing and camping journey through Romania and Ukraine  (listen here) for the next 5 months suing my spare time in Poland piecing together my phonographies into aural idylls. Whether through composing music, walking in the forest, making podcasts, interviewing people, creating soundscapes (sound-escapes) or removing myself from noisy environments, sleeping, traveling as often as possible --  much of this effort derives from the direct experience of the overloaded sensory environments, of stasis and a premonition or intuition, that the production of sound (on my behalf) needs to balance with the environment. This of course stands as a measure of the imbalance I perceive myself standing within, spending most of my year in Poznan, a city of commerce, coal burners and too many automobiles.
        
       Looming evidence of radical climate changes only seemed to make me more reclusive
and I perceived myself drifting not in the direction of the lobbying sort of activism, because I am aware of the ideologies and unquestioned metaphysics of science, there are too many tricks and trolls in the climate debate politics -- so I choose too and more in touch with my musical and poetic predecessors, the shamans. This is turn leads not towards politics and politicians but to listening to the people who I travel among while listening to their acoustic resonance region.

     Being a person raised in the city (Buffalo, NY) and living in some major conurbations, these desires to escape noise and shift this balance away from industrialism long ago attracted me to the entire arc of quiet music movements, Cage (we always have to say "what side of the Cage are you on" in this respect),  Javanese gamelan, raga, Japanese traditional, onkyo, reductionism, lower case, drone, sculpting with phonographies, R.Murray Schafer -- all of this had something to do with corrective sonic surgeries on some pulsating noisy advertisement over-load of urban, industrial extremism. But these surgeries seem to be largely cosmetic. It seems difficult to imagine reversing the mechanical noise levels linked to the market which binds production to the military industrial complex. The noise will only increase as time goes on even if we increase operations to reduce that increase since creating our "escapes" also generates more carbon imprints.

    Weaving and un-weaving. Or, as the poet Robert Duncan once wrote, in a brilliantly commemorated Freudian slip, "re-weaving and we-reaving".  What we cannot untangle or un-weave, we sometimes tear apart.

   Since most people do generally feel overloaded with all the data but the data suppliers keep multiplying and the consumer base keeps growing, What is going on?

  What's the psychological message of all the noise and over-production? And why do we need to escape it or change it? And how have we been able to do that? How have we tried to use our ability to make sounds counter-act the information overload of the processed world? Have our phonographies or music processes led us back into a more profound connection with the natural world just make more hash from hashtags?

    Perhaps we can thank our own organisms for the implicit, instinctive answer, an organic rebellion against overdosing the data transfers. At root, in the center of the brain, there is the pineal gland and it's cycles of neuro-transmitter chemical productions linked to circadian rhythms. Without drugs, eventually, you must sleep and find the music of your own internal organic life. What? Is there sun of sounds and we require a darkness of sounds, some zero resonance zone, where all sounds heard simultaneously peak in a blackout silence we call slumber?
       
     Perhaps the over-production is related to horor vacuii -- the spiritual void of the post-god-is-dead world -- a need to ensure that our net of presence-ing ourselves goes unbroken? I assume that the fears are very real and that the painfully slow dawning of the impact of climate change indicates that we feel we can artificially save ourselves, with technology and cultural representations, permitting the simulacral fantasy of control to reign supreme, as long as we are reflected in the eyes of our friends. While what we need to do -- the planet seems to be demonstrating -- is that we need actually to do less and to want less. Listening in this context need not reflect so much as absorb, or transmit internally whatever sense of belonging we might have. There seems to be a limit in the collapsing of the expansion of knowledge that brings us back into our own bodies.
 
    In these circumstances it seems that to make any great contribution in a certain sense one ought to refrain from making any contribution. It's a question of scale. Why make books, vinyl records, cds, when one can use the internet to share loss-less files? Nostalgia has a hold on people and ritual consumption seems bound with civilization and it's need to appear better than what it fears and seeks to define itself against:  savagery, nature, chaos, entropy. We listen to things which reinforce the ideology that once made us feel good. We binge-listen to old faves. This guitar kills fascists, so let's buy another one.

                                   

    Our sounds seem to be so entangled with our own ordering principles and mesh so thoroughly with the science of the natural world that I have wondered if we are at the origin of this process or that it's the opposite, that we follow unconscious orders blindly, that we forget we are half-artifice or some proportion of artifice mixed with the physical reactive universe. The artifices of the hiding agencies are often cultural. We need to untangle our perceptions. But each artifact of perception generates further physical facts. Like the cilia in the cochlea there is a tingling back and forth tuning which is built on a set of firing parameters, they regulate toward stability, calm, agreement. if they don't achieve that effect the stimulus circuit ping-pongs who knows for how long...
  
     It seems however, if some of you follow recent research into enzymes, neurology and quantum mechanics, this physical & active universe seems to sit on top of something that is static, or entropic or seemingly without any reactive tendencies at all, not even dead because it's maybe never been alive or a substrate with such extremely slow reactive tendencies, that it's appearance is inert and dark, unconscious. Another matter. Dark matter. Perhaps it draws everything by the 3rd law of thermodynamics down into it's own collapse into some absolute immeasurable inertia.

  Through a kind of inner body dynamic sound unravels pranic geometry, a tantric, which moves or life pulse and dna in both directions simultaneosly by the laws of gravitational dynamics and geometry of sound centers corresponding to outer circumstances dependent on these  ---  resonance is the tonal balance between inner and outer winds --

   In the Hindu tradition we find five types of prana, collectively known as the five vāyus ( vayus are "winds" -- and some of us who follow any Eastern disciplines recognize similarities to the energy paths through the body and that uniting it all with Western anatomical research we have already a kind of picture of the body and it's pranic, vayic or qi cycles. Perhaps now we who are doing this work in acoustic ecology are ready to bring the inner and the outer forms of listening into one endless spiral. The ear and it's structure can functions as a point if departure for this and I'll get to that in a moment  


Part 4    (I never had a chance to even imagine getting this far into the presentation...)


Our sounds are woven objectively within the order of the cosmos and that part which is called music is what falls within the realms of the categorization and ordering of our sounding relationships, the ones that makes sense. We create this order as shield against what we don't know. This tendency to shield against the unknown began to break down in the late 20th century. Music opened itself to wider influences, both culturally (world musics, new tone systems, timbres) and by re-considering the role of pure sound in the process, largely due to the ability to abstract sounds from environment offered by recording technologies, music expanded to also include the possibility of pure listening, and listening started to be, or to return to the old order of animistic listening, the primary organ of musical composition. Thusly, the ear was born again into refreshed circumstances. 


    This may seem obvious, but some parts of that cosmos are not communicable and even insensate and without possible purpose in any system of meaning known to any previous aesthetic paradigm. They are untuneable, uncontrollable, unpredictable. For this reason they remained frightening for most people. But this fear also started to breakdown when the incommunicable didn't respond and seemed to work on different terms. It was then we started to get another confirmation that listening or paying closer attention to everything was the only way to understand what was going on "out there" and that any sense of harmony with that was only perhaps to be gained by ceasing to try to control it. This is all reflected in the course of that famous century before the last one, since 12 tone theory and serialism began the integration process with the elemental and molecular cosmos and the aleatoric music of Xenakis started to influence younger people doing electronic and noise musics.

Xenakis is important as a step into the territory of where creative dynamics and probability patterns in physical dynamics weave with one another and brings some of my own weavings and unweavings to a new opening

 Mixing things up was suddenly a more efficient way for the human ordering system to evolve. That's perhaps why now in the 21st century people are thinking about how we and our passing gasses are forcing the rate of our climate changes and not really just a bit anymore. They can feel it happening. It's been happening in our music since serialism and free jazz and musique concrete. My feeling is that it's a good sign that somehow we can already feel this reaction finally. And perhaps listening to that is a legit preoccupation. But this is all based upon the relation between the wind, the storm, the chaos, being perceived as significant. And most every does the feel the wind has great significance. Once upon a time people even thought the wind was animate.


    Part 5


 In the writings of Boethius, the analyses of music is tripartite.  Music of the heavenly spheres, "loud and continuous, beyond human range" according to David Hendy anyway is said to be seen by Boethius is the heavenly bodies and in the elemental changes of the seasons -- so here we have the geological, global grounding. the music of the spheres is not the arcane mathematical issue of the pythagorean mentis

    but in fact something physical, celestial, mechanical but moving at such a speed that it seems silent.

instrumental music is of course is self-explanatory.

    But the "human music" within the human organism, the body itself, is something Boethius doesn't say much about except that one can feel it if one wants. Intra-corporal music is proprioceptive. But we have great traditions in the chakra theories of India and the QI flow systems of Chinese medicine, all of which suggest that is the human body is to be used as a model for music then both complexity and clarity must be resolved.

While Boethius, struggling with the classical world and trying to find resolution with new faith systems between the East and the West, he seems a bit deaf and insists we can't hear the higher vibrations of celestial music and he seems shy about the inner workings of the human organism. This is probably just the by-product of the rational mind obscuring things for political reasons. Anybody who listens can hear the workings of their own bodies. So what was going on with the haptic perceptual fields? Two things: the ideology of the unknowable workings of the mind of the Judaeo-Christian god closed the doors of that perception. And the beginning of the dark age of the human body began and everything associated with it became base and material, opposed to the soul itself. Our ideological disembodiment which seems know rather at it's last phase.

 But I'd still like to use this same three part division and jump to an analogy with the structure of the inner ear, the human ear anyway, where we have something similar: because the outside is always continuous, a kind of overwhelming racket -- while the tuning in and out of this is achieved by the instrument itself, the ear, which I would suggest, is the archetype for all instruments, and it's composed as most of you know by a  tympanum membrane which stimulates the malleus, incus. stapes -- but what some of you may know also but which is the trickier part is that the cilia which vibrate set the scale because they have a bit of separation among them. And, as I understand this, it's two-way street between the cochlear nerves and the vestibular which meet in this meshing of cilia and kind of maintain and ongoing neural debate which creates the sound or the sense of the sound. One set is sending the vibration into another set which vibrates in a feedback loop against what messages it's being sent -- this is what synapses do also, firing back and forth to create this gapped sensation of continuity --
within this inner ear zone is the -- tipping point between inner human music and outer "human music" which is a hermeneutic zone, one of interpretation and searching, comparing inner data stores, sending them to met the incoming perceptions, as if asking, are you what I think you are? in the case of a musician this relay system is what allows for the adjustment we call tuning... 

by the way, it's been suggested that tinnitus is the result of the a enzyme deficiency/imbalance causing a misfiring on the brain-side of this system, the result being that your brain sends a stimulus back to the ear but it gets kind of trapped there,  stimulates the apparatus without any incoming air pressure and causes you to feel a bit crazy... 

    Part 6

comments on so-called ambient music, the asemantic corridor back to listening to earth voices

     Ambient music as carrier signal for consciousness as in freeing the mind from semantic listening at one level and allowing heightened attention at others. It can perhaps be thought of as a transportation device to a higher silence. 
     Once listening is immersed in the ambient bandwidth, the body is freed from certain cares and woes, suspended in a bath, and consciousness can explore itself, the brain can sort itself out anew, provided one can resist falling asleep. I believe that we listen to this kind of music to gain elemental equilibrium, revert to circadian brain-balance, and one of reasons we also revel in the sounds of the oceans, seas, rivers, streams, cicadas, birds, frogs and any self-regulating physical system (even machines, automobiles, for some people) is because they mirror our own inner organisms' regulatory systems.
      Mainly we do it to slow down the pace, to escape the excitement that is related to danger, stress. Music has some traditions of working in either direction: as stimulant (250 bpm techno or The Ramones as coffee-kick) or the rational grooves of Vivaldi or Bacch to enter the stately or homeo- static realm of consciousness. But only in the last 50 years or so do we see the emergence of extremely slow, radically spacious and virtual silence. I'd like to offer a thesis that says this is more that just a battle of the styles in the history of generational aesthetics but that this kind of sound represents the recognition of our own humanity as being but a small part of an huge complex of phenomenon and that it allows us to listen to the winds of other beings. We had to pass through a period of asemantic orientation in order to return to the universe of meaningful sound with refreshed sensibilities and openness for dialogue and listening more carefully with less judgment and more attention to details. a path towards synaesthesia and a redefined sense of sentience, one in which even silence has flavor, odors, intonations, as Pascal Quignard puts it.

 Chaque livre est un morceau de silence etpourtant chaque livre a une intonationpropre.


     Every book is a scrap of silence and yet every book has its own intonation. Pascal Quignard

      Final Comment on Animism: well, it's my own belief that the world would be a better place if we though of it being one organism. I've run out time here to deal with anything other that to call for a new and perhaps technologically sensitive animism.

      When we mix an ambient system of tones with another environment we change the tonal temperature of our rooms, our spaces. in a sense we are doing this for our own comfort but also we massage/message the surrounding winds and create a new solution.

    "For how can it be that a celestial machine can move so quickly yet silently on its course? And although its sound does not reach our ears, which happens for many reasons, it is not possible however that such an extremely fast motion of such large bodies makes no sound, es-pecially because the paths of the stars are all joined in a way that nothing more perfect could be conceived. For some [travel] in a higher, and others in a lower orbit. Yet all turn with equal force in a way that through these dissimilar paths they form a rational order. With such a celestial model, no less rational order can be expected in music. . . . Yet all of this diversity generates a variety of seasons and of fruits, and thus creates the body of one entire year. But imagine if such variety of things disappeared from our thinking, everything would perish and lose, I might say, their consonance. And so it is that in loosening the low strings, we do not go so far that the sound disappears into nothingness; nor, on the other hand, do we place too much tension on the strings in the high range lest they break. Rather, everything is done that is appropriate and fitting. And similarly we see in music of the spheres nothing that is excessive and that goes beyond itself. ."  -- Boeithius

 Recent Works Concerning Acoustic Ecology, Field Recordings:

 https://jeffgburekprojects.bandcamp.com/album/two-cities

 https://jeffgburekprojects.bandcamp.com/album/romania-phonographies-2015-2016

 https://jeffgburekprojects.bandcamp.com/album/bulgaria-sound-specific

 https://jeffgburekprojects.bandcamp.com/album/resonance-regions-i-lake-rusa-ka

 https://jeffgburekprojects.bandcamp.com/album/polish-soundscapes

 https://jeffgburekprojects.bandcamp.com/album/eirelans





 

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