This artists’ book contextualizes streams of thoughts triggered by an itinerant listener’s interaction with various intermingling auditory situations leaving their traces in listening.
The sounds of everyday offer an entryway into a poetic contemplative mood in which a constant traveller of the physical world may indulge involving pre-cognition. Instead of articulating corporeal “things” in the physical space of the world the traveller may prefer to remain detached as an elevated self and engage with the streams of thoughts triggered by the infinite sonic events emanating from the physical world into the domain of a metaphysical mindfulness as an inward resonance of listening. The intention of the artists’ book project is to explore these mindful sonic states by examining the relationship between various interwoven sound environments or auditory situations and their contemplative, intuitive and introspective capacities at triggering streams of thoughts in the itinerant listener’s mind, transcending mere epistemic comprehension of the sonic phenomenon. These thought processes, when expressed into textual forms, can render subjectivity and poetics involved with the juxtaposition of physical navigation and their virtual interpretations. The project thus uses information about listener’s navigation between digital and physical boundaries incorporating them into an artistic production. This methodology disrupts the ontological constrains of physical space creating an augmented object wherein the mental/virtual can blend with the material as its extension.
Fragments and excerpts:
How does waiting sound like? Waiting opens up every single object in attention; they blossom like morning flowers, they start to smell of themselves. A paper-weight regains its shape, a coffee-cup maintains its emptiness around the marks of yesterday’s drink; an apple becomes desirable; an optical mouse appears as a brand; the open book becomes a page by itself; the headphone is understood as a split between myself and the surrounding if it is not connected to a microphone. I simply cannot take away my glance from every single thing that prepares itself for its presentation. I wait for the answer machine, and the time unfolds into a relentless string of relatedness between myself and the objects around me; as an extension of practice, I touch myself, and the object-hood of me becomes clearer; the statutory hairs on my hand and the mark of age on the finger-joints; the uncut nails appear as social parasites; and the eagerness of each finger-tip to reach out to the other is recognized as an organizational strategy of hyper-communication. In the situation of the waiting, I don’t hear anything, as a result I see, cognize, and recognize things lying in the context of me.