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A 33:08
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about

In May 2022, Drs. Carolin Müller and Dan DiPiero undertook a collaborative, practice-based research project at the Hebrew University in Jerusalem. As two interdisciplinary researchers with interests in live performance, our project intended to investigate the aesthetics and politics of musical participation. In preparation for our meeting, we read several works of scholarship, but did not agree in advance on the form that our project would take. Upon beginning our work together, we discussed our interpretations of the research and agreed quickly that both ethnographic methods—as well as creative projects that aspire to progressive social outcomes—were both untenably problematic undertakings for two Western-trained academics working in the privileged site of a well-funded university overhanging the West Bank. As a result, we designed a project to focus on the contingencies and limitations of our circumstances, and by extension, the circumstances we encountered during our work.

Over the course of two weeks, we developed this project by scouting five separate locations around the Mandel School for Advanced Studies in the Humanities, where we worked. In each location, we recorded the sounds of Dr. Müller’s printmaking tools as they etched a small vinyl square, capturing the sounds of various tools, as well as the wind, traffic, stones, and broader environment around us. Subsequently, we returned to Dr. Müller’s office, where we also recorded the sound of Dr. Müller printing the resulting designs using local newspapers as sources of ink. This process resulted in 26 unique graphic scores. Dr. DiPiero then took the collection of recordings and used them to interpret each score, resulting in an album of 12 tracks. Further creative interpretations and iterations followed; in each case, detailed rules and performance practices were established and followed based on the particularities and material contingencies of time, place, and feeling, including such criteria as geo-coordinates and discussions with our peers. In this way, we hope to raise questions without answering them, to mobilize sight and sound without moving them in a proscribed or instrumentalized way.

credits

released June 28, 2022

Location 1: Bone Patio
Sounds of animal bone on stone, our voices, and environment

Location 2: Echo Chamber
Sounds of etching process, wall-smacking, foot stomping, our voices, and environment

Location 3: Stage
Sounds of etching process, railing, stones, our voices, and environment

Location 4: Pomegranate Metamorphosis
Sounds of etching process, railing, stones, dried/decayed pomegranate (with some seeds, being kicked), our voices, and environment

Location 5: Tables
Sounds of etching process, bistro tables (tapped on with fingers, cans, and other implements), our voices, and environment

Location 6: Office
Sounds of the printmaking process, exclusively

Any alterations to field-recorded sounds were made via interpretation of the original scores, pictures of which will be available soon.

license

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