Promenade. Anecdote, everyday life, image
Promenade. Anecdote, everyday life, image touches on various artistic and scientific topics: installation and environment, sound within a room, and anecdotal music, the science of movement as an instrument to sharpen the perception of the everyday environment and construct theories about narrative identity.
The room contains sound sculptures that look like pictures but only show empty areas. These produce sounds recorded during everyday situations, which are heard by those moving through the room. Through listening and movement, the images nevertheless become counterparts; they can "enter" and "leave" and come into associative contact with one another. They do not tell one story, but instead form puzzle made up of pieces, the contextual origins of which have no more to do with one another than their contexts in the installation: fragments of our portrayals of reality, starting points for the construction of connections, causalities, clues.
The contextual starting point for Promenade. Anecdote, everyday life, image is the theoretical analysis of immersive media environments presented in my dissertation, which is entitled Binaural – Das andere Stereo. Ästhetik und Technik auditiv vermittelter Räume [English: Binaural - The Other Stereo. Aesthetics and Technology of Auditorily-Connected Spaces], as well as in other publications.1 Artistic research is closely related to this, and especially the sound installations Parisflâneur and Alltagsstimmen Judenburg. In the planned project Promenade, I refer to aspects of my previous research to further develop them in new transdisciplinary contexts. Above all, these aspects include the recontextualization of fragments of everyday life and the aesthetic experiences made in spaces in which media are conveyed. Unlike musique concrete, “anecdotal music” (musique anecdotique), a term invented by Luc Ferrari, acts directly on the associations drawn by the audience members. Ferrari's work with field recordings stakes an egalitarian claim to composition and reception.2 Thus, he coined the term “diapositive sonore”, referred to as Klangdias in German. By these, he meant everyday sound recordings that anyone could and should take, as they would take holiday pictures. Promenadology or the "science of strolling" has been developed by Lucius Burckhardt since the 1980s.3 “It is based on the assumption that the observer cannot perceive the environment or, if they do, this is only because certain imagery has already formed and does form in the mind of the observer. […] Perception is based on the cinematographic effect of strolling" (Lucius Burckhardt). "Adherents to promenadology are less interested in beautiful prospects and much more interested in perspectives and the network of relationships that connects idlers with their environment" (Martin Schmitz). In the political dimension of the "minor subject", as Burckhardt called it, there are unmistakable echoes of the Situationist International, and he makes references to other professional strollers, such as Henry David Thoreau, Robert Walser, Franz Hessel and Walter Benjamin, in his methodology. The use of perceived pieces of scenery encountered in daily life and their constructivist engagement in lending meaning are the subjects of the narrative psychology.4 Theories of narrative identity address how self-construction is based on narrated stories that are constantly negotiated in the social network and adapted to the environment. Personality, tangible for others as stories, is understood and acknowledged in this way.
During the winter “hibernation period”, the exhibition will not be accessible in the interior of the esc, but can be listened to from outside through the peripheral window front. During this time, the installation is set into a mode in which it “examines” itself, continually circulating from one image to the next, leaving one and entering the next.
Promenade. Anecdote, everyday life, image is a production by esc medien kunst labor and is funded as a Knowledge Transfer Project by the Vice Rector of Research at the University of Music and Performing Arts Graz and is conducted in cooperation with the Institute of Electronic Music and Acoustics.
Text by Martin Rumori
1 Martin Rumori/Georgios Marentakis: Parisflâneur. Artistic Approaches to Binaural Technology and Their Evaluation, in: Presence 26.2 (2017), im Druck; Martin Rumori: Space and Body in Sound Art: Artistic Explorations in Binaural Audio Augmented Environments, in: Clemens Wöllner (Hrsg.): Body, Sound and Space in Music and Beyond: Multimodal Explorations (sempre:), London 2017, S. 235–256; ders.: Konstruierte Räume – ästhetische Implikationen von Verfahren und Werkzeugen der Binauraltechnik, in: Proceedings of 29th VDT International Convention, Köln 2016, S. 210–216; ders.: Figuration Flaneur, in: What Can a Body Do? – Praktiken und Figurationen des Körpers in den Kulturwissenschaften, hrsg. v. Netzwerk Körper, Frankfurt a. M. / New York 2012, S. 67–73; ders.: Hören! Haltung! Körper und Klangkunst, in: kunsttexte.de, Auditive Perspektiven 2011.4 (2011), url: http://www.kunsttexte. de/index.php?id=711&idartikel=38900&ausgabe=38844&zu=907&L=0 (besucht am 30. 05. 2017); Ute Holl/Martin Rumori: Parisflâneur. Spaziergänge in binauralen Hörräumen, in: Zeitschrift für Medienwissenschaft 2009, Motive, S. 115–122
2 Hansjörg Pauli: Für wen komponieren Sie eigentlich? Hans Werner Henze, Luc Ferrari, Mauricio Kagel, Luigi Nono, Dieter Schnebel, Jacques Wildenberger, Frankfurt 1971
3 Lucius Burckhardt: Warum ist Landschaft schön? Die Spaziergangswissenschaft, hrsg. v. Markus Ritter/ Martin Schmitz, Berlin 2006
4 Wolfgang Kraus: Das erzählte Selbst. Die narrative Konstruktion von Identität in der Spätmoderne (Münchner Studien zur Kultur- und Sozialpsycho-logie), München 1996