The unsound object and intimate space

This research proposes the unsound object and intimate space as new approaches to listening to, writing about and performing creative sound works. The writing and the practical works sketch new territory around these two terms to pluralise sound art histories, with the aim of opening up practical discourse between artistic fields.

The research begins with musique concrète and Pierre Schaeffer’s sound object, but draws on Mladen Dolar’s voice object, Christof Migone’s unsound and Six Years, Lucy Lippard’s account of conceptual art, instead of a strict acousmatic music narrative. A deliberate ‘wandering across borders’ is maintained throughout, to unpick the unsound object and intimate space through live work and ‘writing through’ of texts.

My practice shifts between object based sound works, live art performance presentations, and open-ended text works. It tilts at intimate space by operating from the tabletop, from just beyond the page; my practice is made more uncertain and less fixed by its investigation of the unsound object. The project offers this as a positive outcome.

In this project, I draw connections between the art object and the sound object, between mesostics and live art practice, between writing and space. These are tentatively offered as overlapping histories, as overlapping methods. Not as fixed Venn diagrams, or word clouds, but part of a flickering, oscillating unmethod that allows for both abstract and concrete, for waves and particles.

The unmethod proposed in this project uses words like unshackling, unfixing, unpicking, and untethering to unsettle my practice and writing. The project suggests that destabilising existing definitions offers the potential of sound in silent media, and music beyond sound.