Noctuidae, Noctuoidea is a solo performance [a mixture of experimental music, sound art, performance art and light technologies], which belongs to a larger branch of my artistic practice dedicated to sensitising to darkness as a central decolonial question.
Noctuidae Noctuoidea is an invitation to obscure, in which I experiment with the flutist-flute relation as it is traversed by darkness.
By playing with the hierarchies of our habits of perception, I search for ways in which sound can de-obfuscate the complex practice of seeing within a “culture of light” - a wider characterisation of modern Western culture which assumes, privileges and constructs whiteness. I investigate the entanglement of the fear of darkness, Western sound practices and technologies of lighting.
The theme of light-sound-dark was not chosen before the investigation – it was not an a priori concept, but rather emerged from a double movement. It first emerged from Soproluz, a cocreation made together with Jorge Alcaide (Chile/Sweden). Soproluz was a performance in transformation that was created and performed at Kulturtemplet, an underground cistern that is also a cultural institution run by Jorge, by way of listening to
that particular site. Then, another movement took the form of Land Without Fireflies (2016), a solo piece for flute and objects,in which I sought to narrate and condense the experience of Soproluz in a portable, solitary form. Land Without Fireflies marked a return to the relation flute-body-flutist, carrying now the living presence of the other: Jorge-Kulturtemplet-Soproluz.
Noctuidae Noctuoidea is an invitation to darken our senses. It is a polyrhythm of night bugs – a wish for nocturnal silence, a wish for de-obfuscation.
The stranger is a dark shadowy figure. I use the word “darkness”
deliberately here: it is a word that cannot be untangled from a
racialized history. To use this word as if it can be disentangled
from that history is to be entangled by that history.
— Sara Ahmed