Sound as a by-product. Eat me.

Participatory sound installation, Brussels, work-in-progress.

multi-channel sound, audio transducers on plastic helmet, stereo speakers, construction helmets, motors, conveyor belt, packed food.

This audiovisual research started during the artist-in-residence period in Q-O2 - an arts laboratory for experimental music and sound art in Brussels, Belgium.  In this project I explore audio-gustatory experiences as alternate ways to create a sensation of physical contact between me as a performer, the work itself and the audience.

 

'Sound as a by-product. Eat me' is a participatory sound installation-in-progress where sonic textures of pre-packed meals consumption are intertwined with a non-scored multisensory experience. The public is encouraged to come in slightly peckish for bites and sounds, with warm fingers and relaxed jaws. We are looking forward to establishing sonic and haptic contact between the audience and the piece.

About the project

 

During the residency period in Q-O2 I am doing a theoretical and material research into the theme of “lunch concert”, largely known as a moment when an institution opens its doors for a public musical performance during the lunch time with free admission and no reservation policy. If you've ever found yourself in the Netherlands, outdoors or inside a cinema or concert venue, in a not-so-formal setting around 12:00 or 12:30 you might have been treated with tupperware popping noises, rustle of brown paper and aluminium foil chirring. It always fascinated me: the combination of offered musical program with those discrete food consumption noises which have an ability to spread through the public like circles on water.

 

In the project “Sound as a by-product. Eat me” I am looking into the sonic texture of food consumption outside of a dining / restaurant setting. I want to explore participatory aspects of eating typical packed lunch goods: biting on an apple, unwrapping cheese sandwiches, crumbling plastic and aluminium foils from cereal bars. Instead of muting the public, I am intrigued by the idea of creating a live mix of those participatory interventions and ''basso continuo'' of pre-recorded spatial sound composition.

 

As an artist I often work with public participation and employ physical modes of contact between sound elements, myself and the participants. However the current situation of touch and physical proximity stigmatisation suspends the familiar techniques of creating a kinetic, haptic and largely physical experience for the public within the audio installation setup. If I desire to create work in public art and live performance context I need to look into alternative modes of enabling multi-sensorial experiences.