dust: space-sound composition in book form – always 1st edition – for a performer, a score, and a microphone
CREDITS AND REFERENCES
1. Photo credit: Verena Lercher
1. Adriana Cavarero (2005) FOR MORE THAN ONE VOICE: Toward a Philosophy of Vocal Expression. Trans. by Paul A. Kottman. Stanford, California: Stanford University Press
2. Dominic Pettman (2017) Sonic Intimacy: Voice, Species, Technics (or, How To Listen to the World). Stanford, California: Stanford University Press
3. Édouard Glissant [1990 (1997)] Poetics of Relation. Trans. by Betsy Wing. Michigan: University of Michigan
4. The Buff And The Brutal – a machinima soap opera parody by Rebecca Cannon, 2002
VERENA LERCHER, Berlin / London
conceptual media artist I performative exploration I artistic researcher
www.verenalercher.com
has a 15-year background in professional stage play and performance. In 2021 she started her practice-based PhD in artistic research on "Sounding Out Identities of the Artificial Voice" at the University of Roehampton, London with Adrian Heathfield, P.A. Skantze, and Angus Carlyle.
Her work is engaged in the exploration of performances at the sensual interface of (AI-)voice, body, space, and new media to better understand the (im)materiality of voice as a quality that identifies us but also allows us to question identity formation in generative ways.
VOICE AND SPACE
Voice exists only in relation to a resonating space that hosts its features and idiosyncrasies. One can speak into a room, creating a space as a synthetic process of architectural features, of the body, the listening, expectations, experiences, and intentions, concepts and ideas. Whatever is recorded documents the fact of the recording – friction of acoustic aspects. This technical objectification bears the question of the vantage point. This technical reproduction produces new spaces each time played back. One can own such a recording like an object but never own a space that is co-produced with one's voice.
Spaces are always shared!