here.here voice & electronics: territorialise / deterritorialise / reterritorialise
2021, Live Event
with N.O. Moore, Lottie Sadd, Emmanuelle Waeckerlé, Yifeat Ziv
Live Streamed from London IKLECTIK
This is the 7th iteration after Greg Caffrey (IE, March 2021), Marie Cécile Reber (CH, Feb 2020), Gildas Quartet (UK, Oct 2019), Marcus Kaiser (DE, May 2019), Stefan Thut (CH, April 2019), Jessica Aslan and Emma Lloyd (UK, March 2019).
‘a dialectical play between the organic and electronic’. (Hyperobjects,Tim Morton 2013)
to copy the speech without saying it directly (Lottie Sadd, 2021) performed by Lottie Sadd
La Notte (N.O. Moore and Emmanuelle Waeckerlé, 2021) performed by Yifeat Ziv and Emmanuelle Waeckerlé (voice) , N.O. Moore (electronics)
The works address the potential of the voice as sound, and of sound as meaning. The grain of the voice – a cry, shout or song – sets a space of orientation by which meaning becomes possible. Yet, these meanings – and the voiced territory that grounds them – remain contingent, negotiable, welcomed, and misunderstood. The voice consoles and terrifies. (N.O Moore).
Performed at the intersections of the human and technological, and of verbal and non-verbal language, to copy the speech without saying it directly (2021) explores the transformative power that repetition and translation between bodies have on meaning. (Lottie Sadd)
‘La Notte’ is a text score for a work in three movements and the outcome of a collaborative project between N.O. Moore and Emmanuelle Waeckerlé. They have used as a script a short extract from Antonioni’s La Notte (1961), in which Monica Vitti describes feeling disturbed at not being able to control the sounds and words she hears in and around her.
here.here concert series
a collaboration between bookRoom and the Audio Research Cluster at UCA Farnham, curated by Emmanuelle Waeckerlé and Harry Whalley, around their common research in extended, textual, visual, gestural and object scores and ways to integrate or experience technology in text / music / film / performances. The project is supported by UCA research fund.