Res Extensa

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Res Extensa is a tape piece based on the superposition and juxtaposition of different layers of sound ‘registers.’ These registers are layers of sound materials related to our everyday sound environment and coming from different origins: marginal sounds from electric devices, analogue sources, field recordings, amplification of microsounds, recordings of machine noises, digital ‘errors’ and ‘heard’ music. These sounds do not carry a traditionally codified expressive meaning but rather an emotional register linked to our everyday experience, an affective and tactile charge related to what we are exposed to. Within them, a great variety of articulations and nuances are connected to our feeling and understanding (of the world). The aim of the piece is to unfold, friction and break up these matters to expose them in their affective characters and our connection to them. Recorded sound can be thought of as a specific kind of acoustic event. This, as well as the sounds of all kinds of electric phenomena, have become part of our listening culture. The fragments used in Res Extensa, different levels of ‘recorded’ sound, are not a representation of the world but rather extracts of our vibrational experience, of our shared surface of perception, feeling and thought. The idea is to create a musical event based on the assemblage of different modes of listening. In Res Extensa, sound matters and their implied listening habits are put against each other. The idea is to build a dramaturgy of the grain of sound in which each layer unfolds an array of sensations, a plane of continuous movement stripped of the acquired mechanisms of perceiving ‘musical’ sound. Music as a language of matter, but language as an articulation of experiences rather than as a representative system.