Music for the inner ear

Niels Lyhne Løkkegaard

Our fantasy has crumbled - yet we must go into utopia to articulate alternative realities that will allow us to escape the current systems we are living in and by. What can we do if we only dream pragmatic and rational dreams that speak into already existing paradigms and systems? When a catastrophic or sudden event occurs we often say that reality exceeds fantasy, this being the exception of the norm, but what if reality exceeding fantasy is in fact the norm - and not vice versa? - what if our fantasy has crumbled in such a degree that we only are capable of imagining realities and solutions which already fit into a dysfunctional system? Are we doomed? - or do we dare to go full on into utopia? In the artistic research project; Music for the inner Ear - Niels Lyhne Løkkegaard looks into the realms of imaginary sound and sonic potentiality unfolded within different artistic domains - raising the questions; Is it possible to create imaginary music only audible for the inner ear of the listener & when does something actually exist? In the project the notion of potentiality is a main driver both in activating the listener but also simply by addressing the potential of potentiality.

MUSIC FOR THE INNER EAR

-an exploration of sonic potentiality

Answer and closure

Just a few seconds ago - before clicking on the word potentiality in the menu, and thereby opening this subpage - potentiality, the word itself, was operating within a state of potentiality - almost hovering. Perhaps you were intrigued by the word potentiality – and asked yourself: what does potentiality mean?

Now you’re reading about it.

You’re getting answers and thereby the word potentiality closes in on itself. It’s gradually making the transition from the state of potentiality to the state of actuality - a question moving towards an answer.

So why potentiality and not just potential?

Where potential gains value in the act of becoming something else - in being actualized, potentiality has value in itself, without ever making the transition.

This project deals with the transitions between question & answer, opening & closure -potentiality & actuality.

We all know the feeling of having a song stuck in our heads. Everybody can imagine music, everybody can hear music for the inner ear.

I want to write imaginary music that emerges in an encounter with the imagination of the listener, and where the listener in a way becomes the composer. The ultimate involvement of the listener.

My aim is not to give answers - but to raise questions, and thereby engage the listener.

(Niels Lyhne Løkkegaard)

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MUSIC FOR THE INNER EAR