Many guest practitioners lectured this term have multidisciplinary frameworks and nuanced perspectives between sound and any other art form. One that mainly hit the same topics I’m dealing with – the dimensionality and hapticality of sound regarding audiovisual art – was Yolande Harris. Most of her works are related to sonic awareness, or as Harris puts it, sonic consciousness. However, she reflects a lot on the “expanding perception beyond the range of human senses”, which can be seen in an audiovisual installation entitled Light Entering My Room (2015, Utah).
“Light Entering My Room” fills a space in which the only sound was truly ‘ambient’—the noise of the adjacent shopping mall coming as close to silent as the gallery allows
This relates to what Harris mentions of the expansion of human sensations, which is precisely how I want to treat the sound ELR – a sound that works as textures and hues that stimulate haptic senses.
Alternatively, another artist that relates to my practice is Félix Blume and his works revolved around when he was a boom operator and recordist in film productions. On one of those shooting days, he found himself recording the sound of random objects rumbling in the ground and asked some of his shooting colleagues to film him while recording these sounds. Son Seul / Wildtrack is the result of those experiences, which later were conceptualised as poetic juxtapositions of different points of perception: the point of view and the point of the audition.
(Blume) realized he also produces images that are often absurd, poetic, crazy of even funny. While the point of view of the camera is static, the point of listening is moving.
From my point of view, sometimes these relations don’t add to the future interpretation of the visual content. Sometimes synchresis can’t happen and the nuances established by the common understanding of film break apart. Those moments are indeed unique.