PubliMobility2014 - Jerome Joy website

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!!2. Visiting and weaving within sonic expanses Akio Suzuki, as a Japanese composer, artist and inventor of instruments, is interested in the use of the echo phenomena that give us a strong sense of place. His performance works play with richly layered and simple resonances, delays, echoes and overtones. While exploring new methods of listening, he is developing various processes of “throwing” and “following” based on the principles of call and echo. These are used to investigate places by constructing a topography of sound, and “taking the natural world as his collaborator” (Suzuki). Since 1996, Suzuki has been developing a specific work based on listening: ''Oto-date'' (echo point or listening point). These works, without using any sound conceived by Suzuki, or while being “soundless”, question both sound perception and musical situation: how can past and mundane experiences of members of the audience reconstruct new experiences in the present instant? Akio Suzuki’s ''Oto-date'' plate (a pictogram of human footprints and ears) marks and draws attention to a special place (a chosen spaces of transit). The artist proposes and plans a route by designating and selecting “audial” points located at places with extraordinary acoustic features. These invite the auditor to listen to natural environments, urban space or a building and finally focus on listening to everyday situations. These works are joined by others such as Max Neuhaus’s ''Listen'' (1966-68) and Peter Ablinger’s ''Listening Piece in four parts'' (2001). Passers-by are invited to discover a new sensation, perception and emotion – and consequently a new way to inhabit, affect and perceive the surrounding space-time continuum – by staying motionless in an unusual attitude in a specific location over a period time. This intimate understanding of the place puts our body at the intersection of sonic expanses that propagate around us and are within our reach. A few years ago, during a festival on an island near Hong Kong, Suzuki proposed a collective soundwalk ressembling a procession that started from the shore and went up the mountainside through dense forest passages. Successive sounds of stones banged together by the performer reverberated on the more or less reflective surfaces of the environment, along the narrow path crossing a grassy area, through a small hamlet of houses, then entering an immersive forest canopy. The event by Suzuki simultaneously alters our participation as listeners and our perception of what “music” is made of; between what is receiving and hosting the played sounds (the visual and aural space around) and what constitutes the played sounds themselves (the sonic probes). To play sounds while crossing different spaces (simultaneous sonic expanses and flux that are both fortuitous and particular) corresponds by analogy to a kind of “illumination” and “mobilisation” of successive acoustics which in return respond and react. Our wandering and peripatetic action both follows and shapes the furrow and “groove”; both the path and the way. This creates the impression of a live filtering produced by our continuous mobility and by increasing and decreasing distances, as sounds are emitted and then return, reverberated, echoed and reflected from the surfaces and volumes of the spaces. In some respects, as noted above, this is reminiscent of the practice of ambulatory lighting as it stimulates, probes and thoroughly explores the acoustic spaces and the sonic expanses beyond what we call the “soundscape” by rendering it unlimited. The interpretation of these perceptible spaces involves seizing the opportunities offered by the moment and the place: what is ''already there'' manifested through multiple fragments and variations, like so many coloured and tinted planes and volumes. These kinds of perception profoundly and permanently alter the topography: the road and the landscape are more complex than they at first seemed to be. At the same time, we both lose our way and discover new landmarks in our environment. This art of manufacturing the space through sounding that we propose might be considered as a way of “cultivating” listening and of “weaving” within sonic environments encounters by analogy another artform: ''shakkei'' {footnote}{small}Joy, “Extended Music – Out in the Open,” 2010 http://joy.nujus.net/w/index.php?page=PubliAround2010 ; “Auditoria and Audiences,” 2009. http://joy.nujus.net/w/index.php?page=PubliShakkei2012{/small}{/footnote}. In Japanese tradition, ''shakkei'' (which literally means “borrowed scenery”) refers to the subtle practice of gardening considered as a technique of perception, construction and interpretation of reality (and of collaboration with the outside world) in a composition. Thus this artform where we direct, modulate and adapt our listening, composing with the environment intuitively through improvisation will inevitably remain a partial and meandering listening experience. Nevertheless, this operation has the capacity to profoundly alter our perception of environments – and ultimately of the world – while being immersed in them. This process of building – effectively the setting up of an auditorium – collaborates with the environment and experiments with acoustic expanses, using strategies of minimum and maximum saturation and intensification of acoustic spaces (“merging into the surroundings”); it modifies, our ways of perceiving and enables us to participate, evaluate and modulate “together” the very listening experience that is being constructed. As Suzuki plays with echoing surfaces and the sound qualities of natural and architectural places, while being immersed in the surrounding environment, this example can help us to have a better approach of how we're playing with our milieux and with co-presents perceived into these milieux (towards a kind of “mesology”{footnote}{small}The science ecology or the study of the mutual interrelationships between the living creatures and their biological, sociological and environmental surroundings (Source: Wikipedia).{/small}{/footnote}). We suggest that these operations, requiring mobility for the production of spatialisation effects, catalyze situations by collaborating with environment and borrowing from distance. They lead us to experiment with expanses and intensities, thereby continuously modulating our own listening situation. {br}{br} \|t [../files/articles/visiting/suzuki1p.jpg\|../files/articles/visiting/suzuki1.jpg]{br}{small}''Akio Suzuki, Oto-date, Torino, 2006. Credit : Carlo Fossati for e/static.''{/small}\|t \|t \|t \|t \|t [../files/articles/visiting/suzuki2p.jpg\|../files/articles/visiting/suzuki2.jpg]{br}{small}''Akio Suzuki, Oto-date, Torino, 2006. Credit : Carlo Fossati for e/static.''{/small}\| \|t [../files/articles/visiting/suzuki3p.jpg\|../files/articles/visiting/suzuki3.jpg]{br}{small}''Akio Suzuki, Oto-date, Torino, 2006. Credit : Carlo Fossati for e/static.''{/small}\|t \|t \|t \|t \|t [../files/articles/visiting/suzuki4p.jpg\|../files/articles/visiting/suzuki4.jpg]{br}{small}''Akio Suzuki, Oto-date, Torino, 2006. Credit : Carlo Fossati for e/static.''{/small}\| \|t [../files/articles/visiting/suzuki5p.jpg\|../files/articles/visiting/suzuki5.jpg]{br}{small}''Akio Suzuki, Oto-date, Sentier des Lauzes, 2004''{/small}\|t \|t \|t \|t \|t [../files/articles/visiting/suzuki6p.jpg\|../files/articles/visiting/suzuki6.jpg]{br}{small}''Akio Suzuki, Oto-date, Sentier des Lauzes, 2004''{/small}\| \|t [../files/articles/visiting/suzuki7p.jpg\|../files/articles/visiting/suzuki7.jpg]{br}{small}{/small}\|t \|t \|t \|t \|t [../files/articles/visiting/suzuki8p.jpg\|../files/articles/visiting/suzuki8.jpg]{br}{small}''Akio Suzuki, performance, Tung O and Motat village, Soundpocket Festival, Hong Kong, 2009. Credit : Soundpocket, Hong Kong.''{/small}\| \|t [../files/articles/visiting/neuhausp.jpg\|../files/articles/visiting/neuhaus.jpg]{br}{small}''Max Neuhaus, Listen, 1966-78. Listen, Poster: Brooklyn Bridge - South Street, 1976. Fac-simile.''{/small}\|t \|t \|t \|t \|t [../files/articles/visiting/ablingerp.jpg\|../files/articles/visiting/ablinger.jpg]{br}{small}''Peter Ablinger, Listening Piece in four parts, 2001{br}1. Los Angeles, Dockweiler State Beach, Baywatch 53 / 54{br}2. Los Angeles, Baldwin Hills, Culver City Park, Baseball Field{br}3. Los Angeles, Downtown, 4thStreet / Merrick Street, Parking Lot{br}4. Palm Springs Trail Station / Wind Farm{br}Credit : Maria Tržan, Siegrid Ablinger.''{/small}\| {br}{br}{br}----
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