SOUND MORPHOGENESIS TOWARDS AN EXPANSION OF LISTENING.
The field of sound is manifested in the cosmos of the micro to the macro. Both the bacteria and the stars are configured and emit various frequencies and vibrations. Thus, as long as there is a container field (ether) where it spreads and an entity that interprets them, the sound phenomenon will take place in the universe. A close definition is the proposal in the basic principle established more than 100 years ago by Georg Ohm on acoustic perception: sound consists of oscillations and condensation rarefactions of air (increase and decrease in pressure).
For neurophysiology, the definition of the ear (that entity that perceives) is:
a sense to perceive, composed of sound-sensitive organs which are empowered to capture and transform pressure variations caused by the propagation of sound waves in the air, in neuronally processed electrical impulses and whose information will correspond to patterns captured and stored previously in memory.
From the above we can deduce that sound is a form of transducible or possible energy to be transformed into others such as electrical, thermal, dynamic, mechanical, and so on.
The sense of hearing gives us indications of a mysterious phenomenon, a subworld / plane / dimension where frequencies and symbols, vibrations and signs converge. Consider then the sound as a kind of skin or scale, a dermal breath of the energies that swarm the universe. A phenomenon of audible touch of the world that reveals what configures reality from listening. Also, deepening this dimension encompasses many other manifestations of energy and materiality that could well trigger the experience of inhabiting a metacognition, projected and latent in the world through layers of vibrations and the movement of frequencies.
In contrast to the above, silence results in the end as an undefined and unknowable state for the senses, perceptible only from a higher level of consciousness or an expanded state of listening. We can verify it based on the hypotheses about an expanded listening raised by contemporary musicians such as Pierre Schaeffer (who proposes three listeners: causal, semantic and reduced) in his Treatise on sound objects; Michel Chion (influenced by Schaeffer, of whom he was an assistant, in Audiovision will resume this study again, or John Cage, who is worth recalling his experiments in the anechoic chamber in 1979 at Harvard University, where he would find it impossible to achieve the experience of state of absolute silence since the internal sounds of his body always accompanied him.Cage would start from this experience to demonstrate the need to silence the mind, thought and language through meditation techniques and spiritual paths of oriental traditions and thus be able to engage in relationship with that absolute state. Each of them would explore it from different esoteric legacies; Schaeffer as a direct disciple of Gurdjieff and Cage as a practitioner of Zen Buddhism.
We can establish from the above an implicit relation of language as a catalyst for noise, since we live in a constant linguistic interpretation of this sound reality that surrounds us and to be able to withstand it we evade its effects or relegate it to an unconscious but still cognizable plane.
Ancestral Ideophony
We are presented with the possibility of a utopian plain tabula of language, which forms the basis of dystopian content presented by Ancestral Ideophony. In a series of experimental video and music pieces; synthesis of a sensory experience whose base is based on a lifestyle and a transgressive thinking system.
The concept starts from the term ideophone (ideophon) [Ideophon] postulated by the South African linguist Clement Martyn Doke, who defined it this way: “A living representation of an idea in sound. A word, often onomatopoeic, that describes a predicate, or qualifying adverb with respect to form, color, sound, smell, action, state or intensity ”(Bantu linguistic terminology, 1935, p. 118). In this way, representing the idea of an experience in a sound is then the source of an expanded perception of listening. The question that arises would be: is there any nucleus in this source?
lve into the concept of "ideophone" from an anthropology of language, where it is known as an ideophonic gesture (ideophone-gesture). From there we can associate that the gesture is more a spontaneous action of the body that transgresses the simple communicative processes of the mind, so when defining the ideophone from a gestural field (we understand the gesture as body movement), this being one through the movement of sound, made a supremacy of the language of the body, of the performative as a way and means for ideophonic manifestation, while creating a metalinguistic, metapoetic and metacognitive discourse, thus answering the previous question: the ideophone it would be that core of the source conducive to discover an ideophony.
Thus, Ancestral Ideophony starts from different questions about the different meanings and works related to the term ideophone as a configuration element in the languages of original traditions and as a sound eventuality of the psyche, bringing up the study conducted by Elena Mihas, of the Cairns Institute and School of Arts & Social Sciences.
This level tabula of the language where we are now located leads us to rethink the experience of inhabiting the sound phenomenon, as well as leads us to potentiate the levels of interpretation of the cosmos by sharpening the sound perception; which derives in expanding the perception of reality towards a new cosmogony of the universe.
DEVELOP THE MYSTERY OF THE SOUND PHENOMENON FROM THE IDEOPHONY
Ancestral ideophony, as a chain of creation, explores the esoteric and the physical through sound experimentation as matter before and beyond language, pursuing the development of a supremacy of listening that allows finding the inner being (Christ) from the detachment of the sign in the sound perception and the entry into the essential nature of things and the sound phenomenon. To be aware of sound is to be aware of the world. It is in this plane where frequencies and symbols converge, a territory that when explored comes to the utopian condition of being able to improve as a species, from imagining sound forms that allow a connection between different entities. For example, an intermediate fictional context between video and electroacoustics in which the classical myth of Orpheus and Eurydice invites us to rethink the history of contemporary art from a deconstructive, heuristic and Pataphysical vision (understood as the “science of solutions imaginary ”and thus defined by Alfred Jarry at the end of the 20th century). The myth, already reversed, here manages to escape from Eurocentrist chauvinism by questioning Greek culture as a "principle" of European culture, and takes us into a third type of listening, telepathic as a way of raising levels of consciousness through a deep state of attention
On the other hand, the content of the pieces clearly refers to organic matter. We see images of a constant sprouting of the earth, a flower that is born from above and a symbiotic action visualized microscopically. All of the above is proposed in a virtual, digital-organic scenario. Successive to these images, the idea of an organic entity is born, materializing in a stone, later sculpted, which becomes an instrument and sound sculpture [lithophone]. Video and audio controller and generator interface that manifests itself as an object of power or totemic icon, but at the same time as an interface, paradoxically, at the same time digital and primitive (this project has been valued by Joel Ryan of STEIM for its continuity and development).
In this way, the video as a participatory medium in the development of this search continues to sculpt the stone; giving it power, turning it into a tool not only technical but reflective; in a multiplicity of contexts at the same time that magic and this power is inescapably supernatural, impregnated from technological languages, with art being the way to propose a new vision of technology and expand the possibilities of language and thought, and somehow open new gaps for a less globalized or more appropriate technological exploration of natural physical laws and those that regulate Pataphysical exceptions.
The basis for a thinking system, based on the following PILLARS OF CREATION
Consistent with what has been said, ideophony goes from research-creation to a method of study that gives us clues about a plane of the mind or a metaphysical plane, developing a series of pillars as interdependent conceptual nodes:
1.The being (cognitive), the spirit (metaphysical), the psyche (mental) and the different states of the psyche; they are primarily measurable and apprehensible vibrations (energy currents) in multiple frequencies that go modeling.
1.The being (cognitive), the spirit (metaphysical), the psyche (mental) and the different states of the psyche; they are above all vibrations (energy currents) measurable and apprehendable in multiple frequencies that are modeling the properties of matter (cymatics) from the micro to the macro (physical systems, natural cycles). This makes it possible that from listening as a mystical trance, different phenomena of the universe can be explored and recognized.
2. Understanding the attentive listening of sound as ecstatic and aesthetic manifestation that operates from elements such as the shape of sound, texture, color, movement, volume, rhythm, revealing a deeper idea of reality through the instants; the sound being a pure substance of revelation of the world.
3. The most natural way we have to produce ourselves (AUTOPOIESIS) is through and through sound, since sound is a manifestation of living matter. We express before the sign from the sound, from the guttural, an expansion of the sensations, the emotions and later with the sign of the thoughts.
4. Even from the sign and expressing the thought, the sound is the aspect that subjectivizes the language and the subject or, even more that delimits it in the field of the phenomenological, as suggested by Schaeffer based on Husserl, and it is from the sound that the force of thought or action is measured.
5. The sound in the field of language as a social tool, between words and dialogues, gives us more clues almost in an intuitive way linked to a primitive, unconscious or magical way of thinking. It reveals the invisible forces that manifest themselves intangible in conversations; which are made perceptible from a SUPREMACY OF THE LISTENING that expands the perception of the world as much as of the same concept of reality (understood as Mayan), making possible the personal and spiritual transmutation (a background also from alchemy and high magic).
We can talk about the existence of a sound substance that condenses matter (empty / full) and inversely proportional shapes the world (morphogenesis); To some extent, this would have to do with the butterfly effect proposed by the chaos order theory. Proof of this could be the sound of OM, which for Hinduism and Buddhism represents the latent divine vibration in all things. An interesting example of this appears in the novel Siddhartha by Herman Hesse. The central character of the novel, Siddhartha (not to be confused with Siddhartha Gautama, the Buddha), tries to drown and about to die is saved by an internal experience of the OM sound in the river. After this he attains clarity, he begins to recognize the OM in all things and reconnects with his great friend Govinda, who has become a Buddhist monk.
THE IDEOPHONE AS A SOURCE OF EXPANDED AND COHABITANT CREATION BETWEEN THE DIFFERENT SOUND ARTS AND THE MOVING IMAGE.
As previously stated, the concept of ideophone [ideophon] in linguistics is defined as a living representation of an idea in sound, a multisensory experience, both metacognitive, where form, color, sound, smell are conjugated and condensed and action. Starting from this conceptual approach, it is thought of as a source of expanded and co-inhabiting creation between the various sound arts and the moving image, added to the different axes that link the human and technological context in the construction of an audiovisual meta-narrative that also proposes to claim the body-machine relationship taking as a starting point the pristine interfaces: the ideophone as the genesis of language and stone as the first tool or prism under which man has shaped this morphology of his perceptions and thoughts giving rise to the character of his existence and ways in which he builds, inhabits and similarly attacks his own time, seeking to re-signify himself from a reinterpretation in the ineffable search of the self.
In a grammatical sense we can observe that the term ideophone is composed of two words, ideo and phono, whose etymology is described below: the word idea comes from the Greek ἰδέα, 'aspect, appearance, form', related to εῖδος (eîdos), which also means "I saw", "sight, vision"; hence devise, know something, form an idea. The idea of "seeing" is implicit in its very meaning, which leads us to the Latin word IUDEO (video). The term phono is presented as a variant of the suffix "-phony" that indicates "sound, voice". Etymologically it comes from the Greek "phone", which means "sound".
The relationship of these two words opens a world of possibilities when extracting from the concept an axis of notions that will give way to a rethinking the archeology of human relations, projecting from the experimental border universe between video art, electroacoustic music and music. arcane knowledge, which reveals the need to focus listening on a symbolic level.
Virtual archetypes erect a language composed of ideophones from a telepathic conception to achieve the virtual encounter, they are materialized in video, this being a containing medium of cohabiting languages that open the way to the artist-composer since the 60s, as Holly Rogers in Sounding calls it the Gallery (2013), and that over the years, other qualities have been urged thanks to the generations of videoartists proposing new aesthetics and ways of assuming this profession. We are faced with a way of thinking about video art and fictional narrative as key factors in contemporary composition and visual music.
We can elucidate in the pressing class distinction and constitutive social struggle of the human being the need to question the interfaces, or in other words, those devices that mediate between the human being and his or her own reality. Interfaces that go through a dematerialization of the ways in which we live and feel comfortable, coerced into a world that is built and deconstructed simultaneously through data, thoughts and interpersonal relationships. The stone (seen from now on as a multisensory interface) gives life, through movement and rubbing, to the materialization of an encrypted language that seeks to reveal itself through a signed language contained in the sculpted matter and that seeks to recognize and inhabit the essence of the primitive symbol, that is, a poetic about the body itself linked to the genesis of thought, from an audio-tactile field as a multimodal source and an entity that codifies what is perceived.
It is necessary to start from a logic to understand and reinterpret ideophones as axes and as a starting point for human questioning through audiovisual creation. In the ashéninka perené, an endangered language spoken by about a thousand people in the Perené Valley, the upper part of the Peruvian Amazon and belonging to the Arawak indigenous community, the representation of an idea in sound - the "ideophone" - It is a component of expressive language that we can find in everyday life, hunting and shamanic rituals. Specifically, these promote communication experiences in various levels of perception and awareness from an audio-touch experience.
Elena Mihas, from the Cairns Institute School of Art and Social Sciences, has done extensive research with the Arawak communities of the Amazon. The report describes the involvement of hands in the creation of meanings, whose ideophone-gestural components seem to carry a unique cognitive-communicative load, forming knowledge structures based on inventories.
of ideophones. We quote: “some of the ways in which representative gestures evoke or codify reality, ascend from a basic set of daily activities of the hands in the ecological and cultural world”. The author cites a text by Streeck, Goodwin & LeBaron in which, based on the ideophone, they describe an autogenerative process, where different types of sign phenomena cohabit:
The ideophone-gesture compounds are perhaps one of those quintessential multimodality specimens, that is, the process in which different types of sign phenomena instantiated in various media are juxtaposed in a way that allows them to mutually elaborate.
(Goodwin, 2000, p 1489)
The explanation of the ubiquitous use of ideophone-gesture compounds in ashéninka perené and the learning contexts located in Perené seek to give a perspective on the contribution of the hands to the creation of meanings that considers “how the gesture serves the incarnate people-actors within of specific ecological and cultural contexts, together making sense of it ”(2006, p.71). This approach offers a very valuable heuristic in suggesting that “some of the ways in which the so-called representative gestures evoke the world [...] correspond to the fundamental modes of manual activities” (Streeck, 2008, p. 285). Essentially, Streeck argues that when the hands make representative gestures they are based on “a repertoire of postures and habitual actions” that they learned in a specific context of daily life due to the “inherent meanings” of the “family schemes” that can be part of of the “construal” gesture (Streeck, 2008, 286).
Ideophones encode multimodal sensory perceptions, for example, tsapok tsapok, 'movement in and out of water produced with minimal splashes', for example, jumping [sh] (pronunciation) evokes the upward exit of the water, followed by the downward entry in the water, as well as the low level sound produced by the event participant. In general, ashéninka perené ideophones have been found to capture sensory perceptions through three channels: acoustic, visual and apathetic.
(Mihas, Ashéninka perené / report)
As for their functions, ideophones are capable of generating highly detailed and incredibly rich images of directly experienced events and states. As Kilian-Hatz says, "the listener ... becomes a direct witness of the ideophone event" (2001, p.155).
Consequently, the ideophone can be thought of as a convergent multimodal expression of extrapolated, juxtaposed, functional meanings in the field of a language that lies between the sound-phonetic and the gestural, thus generating a communicational and expressive process contained in a Alternate and common zone in communication, which allows us to imagine and think from various perspectives to contextualize a language and listening under these principles.
However, René Guénon points out what, if the Word is thought inside and word outside, and if the world is the effect of the divine word uttered at the origin of time, the whole nature can be taken as a symbol of the supernatural reality.
The ideophone as a pristine interface, which gives the phonetic sound a simultaneous value in simultaneity with body gestures, has the nature of becoming a multisensory medium capable of codifying and materializing what is interpreted as reality. From a genesis of thought linked to the human body, gesture and intent can arise by exaptation, if man is given to receive this adaptive medium as one of the interfaces that also make him an autopoietic organism.
Since centuries ago man has established a relationship with machines; determining to a large extent the way in which it interprets the world and its surroundings, different events materialized in large mechanical prototypes allow us to identify different periods in which man assimilates his role before the astonishment offered by technological advancement in a way perhaps optimistic, until the same commercial, advertising and progressive saturation is presented as a makeup and attractive technocratic discourse in the eyes of the consumer. It is there that we identify a technological transit towards the digital era, in which, the representation of algorithmically encoded data and signals gives us an approach to the world in a “mediated” and limited way in the field of what we can identify as text, image or sound, these recognizable and concrete abstractions being reconstructed based on the visible, physical, analogous, emotional, conceptual, sensory and mental, as Andreas Broeckman points out in Aspects of a mechanical aesthetic (Canada, 2005, Refrech Conference).
According to Marius Schneider, when creating everything emanates from the creative sound, that when leaving the element air materializes in the other elements. Its first materialization is verified in the stone, in which the creative rhythm engenders the element fire, souls and stars. The stone is the first materialization of the mystical initial rhythms of creation, called sound and echo. As the sound repeated the antithesis of the terrestrial world it may have been considered as a creation that comes from the echo of a creative word thrown against the stone walls of the celestial mountain.
The stone is sculpted and converted into a sound instrument-sculpture [lithophone], which will take shape not only physically but also on an ontological ground as an archetypal entity, petrified music of creation, unity of the masculine and feminine opposites, but above all , unknowable, ineffable ancestor, first tool and extension of the body of man as a pristine interface, accounts for the irrefutable and inescapable antiquity of the human race and the unattainable history of the world, and therefore, a key piece in this search, that here it is contextualized only in order to substantiate what constitutes this object as a controlling and generating interface of video and audio, thus manifesting itself as an object of power or totemic icon, but at the same time as an interface paradoxically, or at the same time, Digital and primitive.
Stone Oracle
The stone as a catalyst for universal flow and natural phenomena, is in itself a trace of the ineffability that absorbs human beings as a participatory entity in the phenomenon of their own existence; Like the formation of time and space, it puts man in touch with his antiquity and his present, adhering to a technology of survival, potentiating a prealphabetic-tactile audio linguistic terrain, man inscribes his history in time materializing ideas and thoughts signified in petroglyphs, codify the reality in their inhabiting the world by erecting an interface containing the genes that, when settling, solidify human flesh.
Imaginary Solutions
Erecting a garden of resonant stones is in a way a way to access a source of ancient technology, connect with our time and also with the ancients; in this way the communion between memory, historicity and present becomes alive in everyday life as a single object. Rethinking from there the current technology and media, in addition to the control roles and languages that build the world, turns the stones into something more than "interfaces", since the way of thinking an order can be biological, electronic, etc. The main characteristic attributed is that it connects as an instrument to rhythm, structure, presence in the visual space and especially in life, being there where the stone acquires relevance in the aesthetic experience.
Researchers Steve Guest, Caroline Catmur, Donna Lloyd and Charles Spence write in "Audiotactile interactions in roughness perception":
The sounds produced when we touch textured surfaces often provide information on the structure of those surfaces. Recently it has been shown that the perception of the texture of the hands can be modified simply by manipulating the frequency data of said touch-related sounds.
This research could well be the access to a source of possibilities that would delimit the field of the technological industry to a purely scientific terrain focused on the human-ecosystem relationship.
Litophone.
The decision to make an instrument like this is influenced by a number of factors that come in the interaction of the senses in relation to the stone as an interface. The sound and the data that are extracted from the rubbing with the hands, the sensation that this generates in the bodies, the multisensory used in a resonator entity and acoustic vibration conductor, bridge towards antiquity, the presence of the body in the space of the audiovisual work and the genetic, historical and metaphorical content coexisting in the petrification of millenary knowledge, lead to the rethinking of technology and the idea of progress clearly crossed by a number of constituents of a biological, cultural, political and socio-economic nature, which coexist within a systematized social order and install power devices in the use of technologies and interfaces that build the world, in a determining context in terms of mass control, technological industrialization and knowledge imparted in society. The interface stone is postulated as a reproductive model of imaginary solutions, rethinking technology and involving other immediate urgent needs such as policies in accordance with natural laws.