The Acousmatic Lectures have roots in discursive practices and propose a listening experience based on the Pythagorean acousmatic model: a mode of presentation in which the speaker is hidden from the public. Acousmatic Lectures encourage both orator and listener to focus exclusively on the acoustic space that provides a frame for the spoken word, its temperament and tone, without the addition of visual information or the speaker’s body language. For this series of lectures, all visual clues generated by the speaker’s facial and bodily expressions (which normally influence how information is received) remain hidden. Nevertheless, the speaker’s voice and its dissemination in the surrounding environment still convey the speaker’s physical presence. This approach underscores the dialectical conflict between abstract and sensorial information, confronting us with an array of decisions specific to the act of listening itself.
The term references a Pythagorean tradition according to which only Pythagoras’s most devoted students were allowed to see and visually perceive him during his lectures. By contrast, newcomers were made to sit before a curtain concealing the master’s physiognomy. Students were therefore left without any visual information and had to try to follow the lectures solely by attentive listening.
The lectures are academic in nature—a deliberate choice of the artist. The speakers are academics and scholars who talk about their specific areas of expertise. The intention is to observe what impacts the acousmatic settings have on participants, and specifically without the influence of any artistic or aesthetic sensory effects. In the Acousmatic Lectures held thus far, a performative character has been observed that condenses the classic academic lecture scenario into an acoustic experience that functions both informatively—on a linguistic level—as well as in an acoustically qualitative way—on the level of the voice as instrument—and is capable of transforming situations, content, and space. These aspects are made legible through the ways in which the acoustic characteristics of the voice interact with the surrounding space. As such, they might be experienced as a means for determining the interaction between and transfer of linguistic and affective sensory information.
Lecturers: Alex Arteaga, Sabeth Buchmann, Ernesto Estrella, Markus Gabriel, Marcus Gammel, Federico Geller, Hans-Jörg Rheinberger, Nihad Sirees, Birgit Schneider, Sven Spieker, u.a.
I often think that there is no explanation needed to understand the very essence of the real. Its inconsistency. Its sharpness. In this way working with language presents a struggle. Language is uncomfortable terrain for expresing ideas beyond that terrain. However the deft use of language can be a strong instrument for mastering reality. Language is a tool, which allows us to navigate the real world.
”Objekte sind operationale Relationen im Prozess des Sprachhandelns” (Objects are operational relations within the process of verbal activity) is the title of my exhibition at the Maniere Noire Berlin. We enter the exhibition space and see to our left a sentence painted on the wall with a brush that reads: “Der Boden der tatsachen ist ein Spinnennetz” (The ground of facts is a spider web). We can compare the relational structure of the consistency of our truths to nets made of thin threads connecting the facts that support our reality. We walk on safe ground, when we move from fact to fact, we might think. But it is fragile ground constructed of words and symbols; a text; the narrative that built our reality. The gaps between those symbols however are what becomes relevant here. We are confronted with a kind of perforated reality which we move though ignoring the openings.
There is a fan plugged in on the same wall. It is on and the wind it’s producing is strong.
On the opposite wall we read: “Eine These ist ein japanischer Garten” (A thesis is a Japanese garden). So the land we are walking on is drawing us through a pathway especially designed to show us a specific articulation of the space that is equal to the linguistic articulation of our thoughts. Meaning: A thesis is a spatial/linguistic articulation of some truths. And of course our truth is the consistency we build between the physical and the mental world. The path is our truth: the narrative through which we see the world.
On this wall another identical fan is blowing wind in the opposite direction. Our hair swirls…
Is this a visual symmetry built out of asymmetrical assertions? A garden, a thesis, a spider web, the ground of facts; these terms are scattered throughout the space.
A framed drawing is hanging on a third grey wall. The drawing shows four interconnected equations as follows: “an image is a diagram – a diagram is a narrative – a narrative is a machine – a machine is an image” There lines connect inter-equational terms. We speculate on the legitimacy of those equations until we realize they function as a way of defining their own function within the drawing. Meaning; the drawing is defining itself. The drawing itself is an image that is a diagram and a narrative and a machine at once. The work becomes self-referential.
Lines, pathways and spider webs form the narrative of our physical and mental reality. On this aspect of the exhibition Ernesto Estrella asked: “what does a line think?” He has previously discussed the issue of “…where the line appears…” and that it “… seems to have the function of bringing back language a little closer to its materiality, even to remind those inked decisions that there is a void around them, that “…Those lines need to be handled with care, and cannot always be trusted. So the best thing we can do is to approach the ear, the eye, and ask them what they are thinking in there. For there will be no better clues for understanding and enjoying the unbalanced garden they are part of.”
In Jorge Luis Borges tale “The Disk” an old man asks a woodcutter for asylum. He said he was the king of the Secgens, of the Odin people, and had lost his kingdom. He said he would prove it. Then he opened his hand to show something to the woodcutter who, seeing nothing, touched it and felt something cold and saw it glitter. ”It is the disk of Odin,” the old man said in a patient voice, as though he were speaking to a child. “It has but one side. There is not another thing on earth that has but one side. So long as I hold it in my hand I shall be king.“ I may add: …not even a drawing.
It becomes evident that the show is centered on the interface and the interconnection between words-images-objects. Each work defines itself while defining this relationship. So, for example, the invitation card for the exhibition with the title tells us what is actually happening in the space: Objects are operational relations within the process of verbal activity.
As Humberto Maturana notes: “there are no objects outside the field of language”. So Henri Lefebvre’s idea that our cities are texts within which we are moving around is not a metaphor but a fact. And yet they are more than just texts. Urban landscapes respond to a narrative, which we are supposed to interact with. And so we do.