2018

 

POSTAJANJE ZVOK

Nekdo zakliče za menoj in takrat sem. Tako je mogoče povzeti osnovno misel slavne teorije subjektivacije z interpelacijo prosto po filozofu Louisu Althusserju. Vsak stik posameznice z elementi družbe jo napravi za konkreten subjekt in podvrže ideologiji na delu. Vsak stik z zvočnostjo klica v prostoru, upajoč, da je namenjena njej, jo vpne v družbo, potrdi njen družbeni obstoj. Filozofinja Judith Butler se kasneje vpraša, kaj je subjekt, preden nekdo zakliče? Morda pa ni le golo, še ne subjektivirano telo, razmišlja Judith Butler, če klic prepozna. Na letošnji ediciji Topografij zvoka pa vprašanje zastavljamo z druge strani in rečemo: Kaj pa, če sploh nihče ne zakliče za menoj?

Če nihče ne zakliče ali pokliče, če nihče ne opazi, če gre za golo, v družbi neobstoječe telo, čemu bi zvočilo onkraj neizogibnega zvočenja osnovnih življenjskih funkcij? Sprašujemo se torej o vzvodih in učinkih zvočenja, takšnega, ki je namerno že zato, ker se je zgodilo. Relevantnost teh vprašanj se ponuja kar sama: Zdi se, da so alienacijske strategije odigrale odlične poteze in je fragmentiranost popolna; združujejo le še neštete količine dogodkov, ki so iluzija o nekem skupaj, tudi o skupnosti in, naj nam nekdo pomaga, neizogibni povezanosti. Potem se gre domov spat. Zdi se, da starejše ljudi preveva ne le ekonomska, temveč tudi socialna izključenost, da so osamljeni, a to malokoga skrbi, saj je na delu večna mladost. Zdi se tudi, da je zvočenja vse več, da je glasnejše in da je pogosto imenovano hrup. Da torej v mestnih jedrih sploh več ni mogoče živeti. Da je glasnost neskončno moteča, a da se kavarne kljub temu spreminjajo v disko klube in da ti prostori vsak dan iz ure v uro postajajo glasnejši, saj je žur nekakšen imperativ prav za preobremenjene, zasičene, utrujene. Morda bomo kmalu vsepovprek zvočili in zdelo se bo, da vsak to počne brez smiselnega razloga, tja v tri dni, bodo rekli, Pauline Oliveros bo, kot že tolikokrat, temu rekla veličastna kompozicija, večinoma bodo temu rekli hrup, vsaj dokler se ne bodo priključili tudi sami. Morda pa to že poteka. Morda pa je to ta turistični program v Ljubljani, ki gre vsem (v Ljubljani) neskončno na živce – verjetno kar dobesedno – , ko gredo po ulicah mimo glasbenic in glasbenikov, ena na klarinetu, drugi na cimbalih, tretji na frajtonerici, četrti na klavirski harmoniki, peti na kongah, šesti na sitarju, sedma na violini, osmi na violini, deveta na harfi, deseti na harfi in tako dalje po širnih poteh od Čopove do Mestnega trga, kjer zveni in zveni, a mimobežno, saj ni videti, da bi jih prav veliko zaznalo, kakšne zvočnosti jih obdajajo, kaj šele, zakaj. V Berlinu menda nameravajo na postajah podzemne železnice uporabiti atonalno glasbo, da bi se otresli postavanja narkomanov na teh človeku namenjenih in človeka vrednih mestih. Po prebiranju komentarjev se zdi, da se ljudem v obče ideja sploh ne zdi slaba, zdi se jim inovativna. Če bi jim bilo mar za zgodovino, bi se, če bi sploh vedeli, spomnili, da so bile lučaj stran od Berlina, v koncentracijskih taboriščih predvidoma nevzdržne zvočnosti uporabljene za mučenje taboriščnikov. Ampak to je nekaj povsem drugega, kajneda.

Skratka, govora o motečnosti zvoka je precej, zdi pa se, da se pozablja na emancipatorni potencial zvočenja. Prav ta nas – morda že zaradi neizogibnosti zvočnosti – na Topografijah zvoka, pa tudi sicer, zanima. Če ga obravnavamo iz feministične perspektive, ga nemudoma prepoznamo pri zvočnih umetnicah, pri avtoricah solistkah, ki zvočnost proizvajajo v umetnosti, ki se torej naselijo v prostor in svoj obstoj napovedujejo, potrjujejo, zahtevajo, obnavljajo in za vse čase zabeležijo natanko z zvočenjem. Njihovo početje naj bo prepoznano kot zapisovanje neizbrisljive zgodovine. Zvok namreč ne izgine. Zdi se, da izgine, a ne izgine, marveč transformira prostor, po njem grafitira kot po mokrem betonu. Morda bi temu lahko rekli samointerpelacija. Prav, pa naj nihče ne kliče.

Predlagamo še korak dlje: Avtorice z zvočenjem ne postajajo le subjekti, temveč zvok, to neoprijemljivo, nedefinirajoče v nenehnem prihajanju in navideznem odhajanju, razlezanje po prostoru, jedrna, a vseobsegajoča snov. Postajanje zvok je tako mogoče analoško razumeti kot užitek: Zvočenje spodmakne željo, ki se poskuša vzpostaviti kot neizpodbiten, alfa vzvod vsega početja. Namerno zvočenje kot potencialen, celo pričakovan, celo zahtevan užitek, ta, ki šele požene željo na njeno dolgo, divjo pot. In posledica? Kar zvočne umetnice počnejo namerno, vodi v naključna srečanja in v participacijo v subjektivaciji. Nepričakovan skupaj.

Kaj nas torej čaka na letošnji ediciji Topografij zvoka, pravzaprav ni mogoče napovedati. Kaj šele, kako bo to nenapovedljivo zvenelo. A če si domišljamo, da sploh kaj resnično vemo, potem je to naslednje: Festival bo otvorila Irena Tomažin Zagoričnik, ki se po lanskem izvrstnem performansu Mes(t)o glasu očitno spušča še globlje od mesa, v skelet, v kost, v resonirajočo votlost, iz katere – nekako – tvori snov, ki je ona sama. Sledil bo poklon Rosandi Sajko in njenem delu na področju radijske igre ter eksperimentiranja z zvoki. Da, ona je Delia Derbyshire tukajšnjega prostora. Ali pa nekdo povsem drug. Bo pa sledila projekcija dokumentarnega filma o Delii Derbyshire, The Delian Mode režiserke Kare Blake. Muzikologinja Ivana Maričić bo prek zvočnosti razgrajevala in morda zopet sestavljala subjekt, polemizirala bo z Barthesom, mi pa bomo, upam, polemizirali vsepovprek. Kakšen pomen nosi izrečeno, zveneče? O tem bo govorila filologinja Nada Grošelj. Intermedijska umetnica Robertina Šebjanič ta čas razvija umetniški cikel, ki ga spremlja ljubezen do teme, do nevidne zvočnosti, na festivalu pa bo predstavila Črne kaplje, novo delo iz tega cikla. Če bo Robertina Šebjanič posegla v konvencionalne prostore iskanja zvočnosti in jih presegla, bo skladateljica Larisa Vrhunc to storila s pomeni zvokov in objektov zvočnosti. Kot da bi klavirju rekla: To ni klavir. In nato še zvočna instalacija Éliane Radigue Transamorem Transmortem iz leta 1973, njeno nenavadno redko uprizorjeno delo, pred največjim dosežkom, pred največjo ločitvijo

Dobrodošli na drugi ediciji simpozijskega festivala Topografije zvoka. Želimo vam pozorno poslušanje.

Za Topografije zvoka

Nina Dragičević,
ŠKUC

BECOMING SOUND

Somebody calls after me, then I exist. In that way it is possible to, freely after the philosopher Louis Althusser, sum up the basic idea of ​​the famous theory of subjectivation through interpellation. Every contact of the individual with elements of society makes her a factual subject and submits her to ideology at work. Each contact with the sounding, hoping that it is intended for her, fastens her into a society, it confirms her social existence. The philosopher Judith Butler later asks: what is subject before someone calls? Perhaps it is not just a naked, not yet subjectified body, Judith Butler wonders, if it recognizes the call. And on this year’s edition of Topographies of Sound, we ask the question from the other side, and say: What if no one ever calls?

If no one cries or calls, if no one notices, and if it is a naked, socially non-existent body we are talking about, why would it sound beyond the inevitable sounding of basic life functions? Hence, we are asking about the levers and the effects of sounding; one that is deliberate simply because it happened. The relevance of these questions offers itself: It seems that the alienation strategies have played smart moves, and that fragmentation is complete; only a myriad of events that are an illusion of a kind of ‘togetherness’, ‘community’ and, somebody help us, ‘inevitable connectivity’, have the power to unite. In the end, one goes home to sleep. It seems that older people are pervaded not only by economic, but social exclusion, it seems that they are lonely, but this is of little concern, for ‘eternal youth’ is at work. It seems that there is more sounding, that it is louder and called ‘noise’. That it is therefore impossible to live in the city. That loudness is endlessly disturbing, and yet cafes are changing into disco clubs, and becoming louder from hour to hour, for ‘party’ is imperative precisely for the overburdened, saturated, tired. Perhaps we will soon be sounding all over the place, and it will seem that everyone does it for no sensible reason, ‘through one’s hat’, as they will say, and Pauline Oliveros will call it, like so many times before, ‘grand composition’, but they will call it noise, at least until they join the commotion themselves. Perhaps this is already happening. Perhaps that is the ‘tourist programme in Ljubljana’ which gets on everybody’s nerves (in Ljubljana) – probably quite literally – when they go down the streets past the musicians, one on the clarinet, the other on the cymbals, the third on the diatonic button accordion, the fourth on the piano accordion, fifth on the congas, sixth on the sitar, seventh on the violin, eighth on the violin too, ninth on the harp, and so on along the wide path from Čopova Street to the Town Square, where it sounds and sounds, but fleetingly, for it does not seem that many people are aware what sounds surround them, let alone why. In Berlin, they supposedly intend to use ‘atonal music’ at subway stations to shake off drug addicts wandering those human-centred and human-worthy premises. After reading some comments, it seems that people in general do not think at all the idea to be bad, on the contrary, they find it innovative and funny. If they were to care for the history, they would, if they knew it at all, remember that only a stone’s throw from Berlin, in concentration camps, intentionally unbearable sounds were used for torture. But that is something completely different, right?

In short, the talk about the sound disturbances is quite present, but it seems that we are forgetting about the emancipatory potential of sounding. It is precisely this – perhaps because of the inevitability of sounding – that interests us at the Topographies of Sounds Festival, and otherwise. If we consider it from a feminist perspective, we immediately recognize it in the work of the women sound artists, women solo authors who produce sounding in arts, who inhabit a place and predict their existence, confirm it, demand it, renew and record it for all eternity precisely through sounding. Let their work be recognized as a recording of indelible history. For the sound does not disappear. It seems to disappear, but it does not, it transforms space, it draws graffiti on it as on some wet concrete. Maybe we could call this auto-interpellation. All right then, no one needs to call.

We suggest a step further: By sounding, authors are not just becoming subjects, but sound itself, an intangible, indefinable in the constant arriving and apparent departing, spreading across the space, nuclear, but all-encompassing substance. Becoming sound can thus be understood analogically as pleasure: Sounding disturbs desire which tries to establish itself as an irrefutable, alpha lever of all doings. Intentional sounding as a potential, even anticipated, even demanded pleasure, that which only propels desire on its long, wild road. And the consequence? What sound artists do deliberately, leads to chance meetings and participation in subjectivation. Unexpected togetherness.

So, what awaits us at this year’s edition of Topographies of Sound cannot be predicted. Let alone how the unpredicted will sound. However, we can say the following: Irena Tomažin Zagoričnik, who, after her last year’s excellent performance Moved by Voice, is moving even deeper through the flesh, to the skeleton, to the bone, into a resonating hollowness, from which she forms substance that is herself, will open the festival. A tribute to Rosanda Sajko and her work in the field of radio play and experimentation with sounds will follow. Delia Derbyshire of this sound world. Or somebody completely different. Then, a screening of the documentary on Delia Derbyshire, The Delian Mode, by director Kara Blake. Musicologist Ivana Maričić will, through sounding, decompose and maybe recompose the subject, polemicise with Barthes, while we, I hope, polemicise all over. What is the significance of the spoken? This will be the topic for the philologist Nada Grošelj. Recently, intermedia artist Robertina Šebjanič has been developing an artistic series, accompanied by love for darkness, for invisible sounding, and she will present Dark drops, a new work from this cycle. If Robertina will interfere with conventional places of sound, and exceed them, the composer Larisa Vrhunc will do so with the meaning of sounds and objects of sounding. As if to say to the piano: This is not a piano. And then there is the sound installation by Éliane Radigue, Transamorem Transmortem, from 1973, her unusually rarely performed work, preceding the greatest achievement, preceding the greatest detachment.

Welcome to the second edition of the Topographies of Sound Symposium Festival. We wish you attentive listening.

For Topographies of Sound

Nina Dragičević,
ŠKUC


PROGRAMSKI KATALOG 2018 / FESTIVAL CATALOGUE 2018


Edition 2017 – catalogue (in Slovenian)