Marina Cyrino + Liis Ring
Check out my holes (2018): a composition for amplified flute and light sources, as well as video projection.
A conversation through the amplification of micro sounds and micro images.
We play with the hierarchies of our habits of perception.
In their visuality, holes might appear though they are full of absences.
Holes: invocations through absence.
But in a flute, holes: passages for differentiation.
We would not wish to hear, nor to look inside the flute.
But to listen to the way that a flute might look and sound from within.
To play with the flute as both
subject and object
inside and outside.
A small camera is placed inside the flute and projected onto a wall, creating layers between the space inside the instrument and the outside performing space.
Light sources - flashlights, matches, floor-standing lamps, photographic flashes - are played as musical instruments. Their clicks and leaks turned into light sources as well as percussive instruments.
Flute holes, refusing or allowing the sound/light in or out.
Light sources become the source of their own sound, a rhythmical clicking, but they also play the flute by trying to make light enter the flute’s holes.
A counterpoint that differentiates itself from the beats created by the percussive key sounds of the flute or by the light clicks.
*
We play with the imaginary of the examination, of the examiner.
The flute attached to a table with microphones and a camera placed inside.
Ready to perform a micro-perceptual repertoire of actions.
my flutist)body(flute relation.
an examination space.
a domestic space.
A table.
A surgery.
An autopsy.
both
A table.
A fireplace.
A living room.
A table, a flute, two bodies sitting, face to face, floor-standing lamps, a fire, sound of frogs and crickets, a slight swing, a smile, a song, a tempest.
A table, a flute, two bodies sitting, face to face, protection glasses, hyperactivity, the absence of the flutist’s breath, flashes, technologies of capturing.
*
Amplification of micro-perceptual repertoires of actions.
Transformations of the flute’s and the flutist’s orifices.
Revealing a hidden universe.
Like researching.
A little pornographic.
[…] pornography plunges so intensely into its project of hyper-description for the sake of explicit “extreme perceptibility”, that it finds itself inevitably drowning in delirium: not necessarily the delirium of fleshes and fluids mingling in uncountable pleasures, but rather, the delirium of kinetic rationality: that mode of reasoning governance that understand every single human action as something that can be subjected to optic capture, accurate description, proper archiving, and eventual reproduction or repression as action – depending on whether that action is sanctioned or censored.[1]
[1] André Lepecki traversed by Frances Ferguson. Lepecki, André. “Choreography and Pornography (working notes for an essay to come)”. In Post-Dance. Danjel Andersson, Mette Edvardsen. Mårten Spångberg (eds.). MDT. 2017.