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Please note that all times are shown in the time zone of the conference. The current conference time is: 7th Dec 2022, 11:01:14am CET
Affect and sonic de/territorialization, or Music(ology) between bodies
Queensland Conservatorium, Griffith University, Australia
In this paper I suggest that Deleuze and Guattari’s dimensional schematic of how assemblages operate (TP 88) is a vital conceptual rubric for mapping music-improvisational interactions. Their axes of doubled differential movements model the kinds of asignifying relational trajectories that constitute interactive musical spaces. First is the movement between content as machinic assemblages of bodies, actions and passions and collective assemblages of enunciation as acts that enact incorporeal transformations, each flowing through and expressed by the other. Second is the movement between destabilizing deterritorializations and folds back into ever new reterritorializations as ongoing, mutually constitutive processes. In music, content is produced by prosthetic human-instrument bodies; the sounds thus produced take on affective lives of their own as they intra-act with and impinge upon other material bodies. Musical sounds function in this sense as collective enunciations: they are produced through machinic conjunctions, they flow between bodies, they precede meaning but can be taken up creatively in different meaning-orientations, and they contribute to the constitution of the very bodies that produce them. ‘[T]he collective assemblage is always like the murmur from which I take my proper name, the constellation of voices, concordant or not, from which I draw my voice’ (TP 84). Music is certainly not the only space where this movement operates. But as a sonorous and collaborative practice its collective-enunciatory status is made particularly manifest, and as a pre- or paralinguistic practice it is always already escaping signification, thereby functioning more fully in the realm of desire-production.
11:30am - 12:00pm
The Sonic Territory of Birds, Whales, and Jazz
Goethe University Frankfurt
What happens when territorial birdsong encounters territorial humansong?
David Rothenberg, a jazz musician and philosopher, makes music across the boundaries of species. He is surely not the first to work with the songs of birds, whales, and insects in his music, but his efforts in interspecies improvisation are exceptional in many ways.
First of all, we could analyze these encounters in terms of a dialogue (more or less) on eye-level that addresses the question of power and knowledge in the human-animal relationship. The field of animal studies would be helpful for this, even despite the critique that it can’t really get out of its own anthropocentric framework: animals do not have a chance to voice their own position.
In this case, however, look at the crossing of a divide by diving into unknown codes – via sound and music. What is interesting about this explicitly musical strategy is that it strives for a form of interaction that is not at all about factual/content information or the exchange thereof, but bypasses this part in order to address a supposed common ground of artistic expression. With focusing on the musical interaction in the first place, listening to the rhythms of breath established between the singing animals (and their tools), the melodies forged and forgotten, to the territories touched, crossed, broken down and remade might give us a hint what it would mean to deterritorialize something altogether different: the anthropocentric perspective itself.