Although it could seem an impossible enterprise to try to retract the initial ‘macroscopic’ aspects from this resultant composition, the attempt is nonetheless worthwhile. I would in fact posit that such an interpretative activity – either on a conscious or on an unconscious level – is inevitable and inescapable for an integral aesthetic apprehension of these works to occur. In this work a passage is mounted between that unsurpassable chasm dividing the interior and exterior realities, that in this case form two indivisible sides of the same coin. Not the chasm itself is the starting point for the artist’s compositional activity, but I believe that this is really an attempt at attaining an integrated perspective on the dual nature of the experiences that are here represented.
With relation to the unconscious it is of course easy to make almost any claims, due to the intractability of any such beast as ‘the unconscious’. When referring to ‘the unconscious’, though, I aim here for a level of apperception that stands between the omnipresent albeit still unregistered input of the myriads of stimuli perpetually impressing themselves on our sensory organs (skin, blood and bones also counted as such) on one hand, and the conscious appropriation of these stimuli in the form of subjective experiences on the other. A level of apperception in which the body itself becomes a binaural recording tool of sorts but possessing a sensitivity even more fully attuned to not alone the subjectivities of locality, but also of corporeality, psychology, temporality and physicality as such. It seems to me that a very important part of the recordings on this CD are born out of and nurtured within such a spatially, temporally and corporeally relative context – a form of contextuality that can simply be defined as: ‘subjectivity’. It is this subjectivity, constituting the tangential springing-point from which derive again a myriad of centrifugally propelled interpretative trajectories, that demands a very open ended interpretative activity from the side of the auditor to this work. Such an interpretative stance can only be achieved when the auditor’s position in a way mirrors this subjective position that constitutes the motor to the creative process preceding the pieces on this release.
On the conscious level, although there will surely remain an aura of the original macroscopic events that became the source for these pieces, these auratic remains are themselves physically scarred by the working procedure of the artist, which involves the extraction of the analogue recording materials from their housing mechanism and treating them. This procedure perhaps projects on the physical level the artist’s experience of the ‘declining environment’ which forms the working-field wherein the original source-recordings were made (artist’s notes). These scars on the recording materials, which could even be related to the hooliganism or vandalism that such derelict sites tend to provoke, at least serve to accentuate the barren physicality of these sonified environments.
To in this space become unconscious again (in the sense described above) and experience within this emptiness, as by revelation, one’s own subjectivity, means becoming resensitized to this environment. Again like revelation, the buildings, sites and events that were recorded, rematerialize in these sonifications as a passway into a domain where the previously lifeless space now reappears as infested with the trails and markings of yet unnamed, undetermined, all-encompassing and all-enveloping spirit winds that blow here.
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