“Poetry opens the doors of perception to singularity. Poetry is language’s excess: poetry is what in language cannot be reduced to information, and is not exchangeable, but gives way to a new common ground of understanding, of shared meaning: the creation of a new world.”
—Franco Bifo Berardi, The Uprising: On Poetry and Finance
“Art for art’s sake” has become a derogatory term in our age of neoliberal accelerationism, most often used to label art which cannot directly be weighed, counted and measured in an increasingly dominant utilitarian view of art. Exactly for this reason, I believe that we as artists should seek out the difficult and useless beauty in the cracks of society and reconquer the abstract ideological wasteland left by the financial institutions.
I am inspired by the way poetry operates in the gaps of grammar. Uselessness as an ideal. Allowing ourselves and society the sheer and simple joy of causing movement in the air’s atomic structure — for the sake of nothing else but this causing.
My artistic process is a continuous one, the goal of which is the process itself. To synthesize and create seemingly self sustained sonic environments, that present themselves fleetingly as alternatives to the decaying present. I work from and with concrete material. Sounds that I have recorded in the studio or “in the field” are explored via manipulations and arrangements, in the tradition of early tape music, and fused with the possibilities of new technology, algorithms and code. Sometimes, this process spirals off into the realm of abstract ideas and composition work.
This entails an establishment of systems and an emancipation and liberation of the spatial possibilities inherent in all sound and also opens up a possible new spatial logic: A temporary set of “physical laws” which allows elaborate mutations and patterns of sonic causality in time and space.
The sound waves themselves are a sort of topology, and by following their trail we can carve out territories for a transformative spatial potentiality; listening as a way of mushrooming oneself into that potential space. This implies a disappearance in order to make way for the new: To dissolve the composer and the listener in the darkness and ambient complexity of being.
Illustration: Sofie Amalie Klougart ©