TRAVERSING SONIC TERRITORIES (TST)

Søren Kjærgaard

What happens when musicians improvising on acoustic instruments sample and exchange their sound libraries? How can such a transgression of sonic territories contribute to an expanded understanding of one’s own sonic identity? And could this b/lending of identities point to a more ambiguous yet vibrant field of intra-play? Departing from these questions, this project intends to challenge our idea of sonic identity as a personal subject-oriented entity, and consequently investigate how a collaborative sharing of sampled sounds, can contribute to an expanded understanding of the sounds we play and are played by. Individual idiomatic approaches to one’s own instrument are thus interfered as we transgress habitual boundaries for action possibilities and musical imagination. The practice circulates from the duo of Torben Snekkestad and Søren Kjærgaard toward external collaborators, where the sharing process involves different approaches to audio sampling and mapping, embedding and embodying, listening and playing with each other’s sonic material to a point where authorship, origin, instrument and sonic identity is diffracted.

EPILOGUE

As we navigate the depths of this artistic research, seeking to read through the diffractive grating of our project and uncover differences that truly matter, we find ourselves immersed in the transformative power of diverse networks of artistic agency. These networks intertwine with new materialism theories of diffractive methodology and intra-actions, urging us to embrace not only the resistance arising from our individual aesthetic preferences but also the dissolution of our perceived sense of embodiment with acoustic instruments versus digital ones. In this context, we increasingly perceive the elements we work with as materials rather than mere instruments. Moreover, as we grapple with these shifting perspectives, we confront the evolving nature of the artistic result, witnessing its formats, roles, and agencies blurring and transforming.

Drawing inspiration from diffractive methodology, we recognize that our exploration is far from a linear process. Instead, it unfolds as a complex interplay of entangled forces. Our artistic practice becomes a diffractive encounter, where technology, embodiment, individual aesthetic preferences, and listeners' agency intersect and refract, giving rise to new possibilities for expression. Through this lens, we begin to understand the transformative space we inhabit as a vital element that urges us to deconstruct and reimagine traditional notions of sounds, habits, and the flow of improvisatory trajectories.

Collective improvised music-making provides a compelling practical argument for intra-actions and its notion of subject-object contingency. The performativity of our practice allows us (at times) to sense that the subject and object do not preexist as fixed entities but emerge through intra-actions. Within this transformative space, we recognize that the artistic result is not predetermined; rather, it emerges from the intricate spacetimemattering of the improvisation, the listening, the space, and the transformative capabilities of technology. This realization serves as a reminder that growth and innovation thrive in the fertile soil of uncertainty and openness, where surprises and unforeseen outcomes shape the creative trajectory.

Terra Incognita
As we venture through these uncharted artistic realms, challenging our preconceptions and embracing the entanglement of diverse forces, we are driven by a curiosity that propels us to explore the vast possibilities of our sonic identities. Technology has opened doors to new sonic landscapes and compositional structures, expanding the palette of artistic expression. It allows us to manipulate and transform sounds in ways previously unimaginable, granting us access to vast sonic realms.
Yet, amidst these transformative explorations, we find ourselves grappling with a profound challenge to our notions of authorship and agency. The boundaries between the artist, the listener, and the technological medium blur, leaving us in a state of both excitement and uncertainty. As we step into this uncharted territory, we encounter challenges that persist more than we anticipated.
To truly play with and explore each other's sonics has thrust us into a realm of uncertainty and relinquished control, unlike the familiar comfort of our improvised settings. We have embarked on an endeavor that pushes us to engage with our traditional musical instruments in new and unconventional ways. However, there have been moments where the overwhelming possibilities have seemed to restrict our music, especially during live concerts. Perhaps we have approached the technological tools with excessive caution, feeling disconnected and yearning for the true vibrations of an acoustic instrument.
Nevertheless, within each encounter lies the potential for growth, change, and a deeper understanding of our creative selves. We acknowledge that these challenges are integral to our artistic journey, serving as catalysts for personal and collective transformation. Through navigating this intricate landscape, we gain insights, expand our creative horizons, and uncover profound connections between technology, artistic expression, and our innermost selves.

So, the horizon of possibilities stretches before us, partly unexplored and full of promise. From our individual artistic practice to the pedagogical and social aspects of the diffractive listening processes, we venture into new possibilities. In these territory treks, we are taking steps into a deeper entanglement with the world around us. As we journey through these uncharted territories, we embrace the transformative encounters that shape us as artists, weaving together the threads of technology, creativity, and human agency to create a tapestry of sonic exploration that knows no bounds.

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