A discussion

Aesthetic & Philosophy

_Consider language
_Now, more specifically, the syntax of the Sonic Jumper
_Ultimately, a Sonic Jumper performance addresses the issue
_How many artists do you know, who really work with movement
_The action and voice of the instrument
_A back door into Contemporary Art Music can be opened

Consider language. Consider the amount of direct meaning inherent in language and the capacity of the listener to decode the language according to its recognizable chunks. I have purposefully used the word 'language' in its most commonly accepted sense (words and the way of using them, faculty of speech).

Thinking of the spoken word as the only form of language is limiting, regardless of the foreign tongue used. We can think of many other sources of effusion that merit the definition of language. Further, we can also say that the level of clarity in meaning is an attribute of a language form. In other words, there is always a level of abstraction. Understanding can be measured and should thus be considered a feature of language. This would suggest that some languages are naturally more abstract than others.

Abstract elements can be discerned when using the mother tongue; but we do not realize this because of our complete submersion in our own language. For example, consider our instinctual comprehension of the different inflections used for the word 'quite', or examine how we understand a word that has one pronunciation but different spellings.

Now, more specifically, the syntax of the Sonic Jumper is the result of sound combining with sound. Sound is perhaps too general a word. My current approach to composition combines computer synthesized sound, found sound objects(following the music concrete tradition) and borrowed or appropriated music(samples). I am not sure this last sentence helps much. Secondly, body language plays an essential role in the delivery and expression. In fact, the physical gesture is 'key' to fully experiencing a Sonic Jumper event. To emphasize this reliance on the physical gesture, consider the following.

Human beings have a profound ability to 'signal' through the use of sound and movement, and their signalization is infinitely variable. By 'signal', I mean our capacity to relay a message, a simple direct message, a message of complexity or of great subtlety, through the use of our inner sound tools(the voice) or via the sound devices in our communal environment(the car horn, for example). This audio signaling is enhanced by an action(body movement or moving an external device such as the way we drive a shopping cart through the supermarket).

Ultimately, a Sonic Jumper performance addresses the issue that a human being's capacity to digest and produce sound is linked to the comprehension of, appreciation and dislike for sound. I believe that exploring our relation to sound, either as agents or receivers, can help us to discover what makes our ability for sound-making( and music-making) so unique. The ramifications of this will have a direct impact on how the roles of sound and music are valued within a given society. Understanding that each and every one can play an active part in sound-creation, implies that we also have a responsibility in managing the sonic environment we live in.

"Above all, remember that you are yourself a performer in the world symphony. There will be a time for you to be heard and a time to remain quiet and listen to others." Schafer, R. Murray. (1998) The Book of Noise, Indian River: Arcana Editions.

How many artists do you know, who really work with movement? That is to say, do you ever see performers who try to maximize the impact of their gestures on stage? Dancers come to mind; but I hope its clear from the description of the Sonic Jumper that it is more than just a dance piece. The intention is to control sound as well as body movement to the degree that sound and movement become integral.

Can the artist compose movement? Certainly. Anyone who has a sense of balance can relate to this. Even the most unrefined steps can be a source of cheer. Sonic Jumper asks, however, "Can composing movement be used to enhance the sonic experience?". I am suggesting that a new language - for a new instrument - is created. The movement and sound are inseparable. Each enriches and compliments the other.

The action and voice of the instrument correspond to body movement and sound processing. The action is the body itself, unlike a piano where the action of the instrument is a result of the piano mechanism - the process of pressing the key that moves the hammer which strikes the string. The voice of the Sonic Jumper is extraordinary and is only limited by the user's programming. In other words, it can be as plain or as complex as the musician wants. It is not fixed, and this makes for a very exciting instrument. At the same time, an immense challenge awaits the musician who tries to master the voice of the Sonic Jumper. It is important to note that the artist uses their 'computer skills' along with their musical know-how. In this way, we are asked to redefine the role of the musician.

A very interesting relationship exists between the action and voice. Everyone has experienced the necessity to move the body in certain soundscapes(i.e. in the discotheque or during a community dance). Now imagine that each movement you make has a direct and concrete effect on the soundscape. Can you see the link? Sonic Jumper gives the performer the possibility to mold sound while at the same moment, the human body's physiology reacts to the sound being created. The performer can create a beat while at the same time 'feeling' this beat. Percussionists do this all the time, so what's the point? Imagine more than just a beat and remember the voice of the instrument is only limited by the imagination of the user. There is a circle of cause and effect which is both linear and simultaneous. This continuity can be quite dramatic if broken.

Breaking the circle creates a disruption in time. What happens during these separations? Let's think about Art:

"L'œuvre d'art s'exprime toujours dans une langue topologique" »crit Hermann Broch dans une lettre Aldous Huxley propos de la Mort de Virgile: "C'est seulement par ce moyen qu'elle re¡oit la facult» d'exprimer l'inexprimable, notamment dans la tension entre les vers et les mots, entre les taches de couleur sur la toile, entre les ton musicaux."

"Une langue topologique" refers to a sort of mnemonic code that serves to turn our abstract impressions into something concrete. If we think in terms of time, we use this codification to interpret meaning from event to event: between words; between colours; between notes. The abstract sensation of experiencing a progress from note to note is then converted into a concrete message or sensation.

Both body language and sound have syntax. The syntactical structure is, however, quite different for each and this allows them a particular control over time. From the perspective of the audience, matching or contradicting syntax can create tension. This is not unlike the tension felt by the performer while he works with sound and movement simultaneously, as described above. Sonic Jumper tries to maximize this tension between the action of the instrument and the voice of the instrument.

A back door into Contemporary Art Music can be opened. I should only say this after talking about a few realities. Abstract music needs a little meta-musical boost. Even in today's major cultural centers, the 'abstract' is lost upon the public. Generation after generation, there seems to be a degradation in understanding those things that lack a defined shape. This means, if you can't see it, you can't understand it. This is matched by a materialistic fervor to assign value to an object if and only if it can be purchased. How do we encourage a discovery of the abstract in music? Can we expect music itself to be adequately proficient in reaching the listener? The listener is defined as the specialist or the one with only a notion of 'Contemporary Classical' music - an oxymoron used by our packaging marketplace. Aside: if you live in Paris long enough, you will find 'what passes for music' does not reach the listener.

The Sonic Jumper supposition is that by incorporating a direct link with movement, on stage, the viewer/listener will be more apt to explore the soundscape. Observing and interpreting the movement is a sort of entrance way into an abstract sound world. Through movement, Art music becomes more tangible and a leap into the 'abstract' is taken.