“Geographers say there are two kinds of islands,” - said Gilles Deleuze at the beginning of his “Desert Islands.” Continental that are accidental, derived, separated, “born of disarticulation, erosion, fracture,”  and oceanic -  the originary, essential ones.

 

This same-titled sonic esse occurred in a manner of the first type.

The only sound source for this work comes out as noise that appears between disconnected or partly unplugged wires. Its dense artefacts, and analogue textures convoying the energy discharges, which I made way for through my hands, lay in the basis of this work. 

A radio antenna, serving as an accentuator for electricity flows, was used as an additional medium to emphasise the active role of social media in the current extreme communication crisis. 

 

The seeding point for this work was a war for free will in Ukraine, then "deterritorialization" happened. 

 

To liberate this material from its formal envelope, to exceed the contextual start, I exposed it as a point to spring off from, as a launching pad for a sonar discovery or a journey in search of something that would go beyond seeding tensions, something that would not represent the environment, the conditions, this sound itself, with its signifiers and functions, nor something particular else, but the very process of becoming.

 

The traces of this work are not gravitating towards any finite position, nor exact facture, nor any desired sonic event, as it usually happens within a traditional composition. Rather, they aspire to discover the possibilities beyond my expectations, to question the "author's" position and perception of the situation, to unfold an interior space of sensibility to sonar transmutations, to articulate the movement itself. 

 

Technically, it’s an electro-acoustic that came into existence through the spontaneous combination of initial noises with themselves, but shifted in time/speed/frequency/resonance using Max MSP and other software.

 

The work starts with the raw sounds of disconnected wires and moves towards their dissemination in transformation through a multilayered procession in a series of improvisational live sessions. 

 

The composition of the album, though, has its own narrative structure, independent of the concept and context described here, and consists of the thirteen steps.

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                                                                                                                                                                                                             Snezhana Reizen