a radio show by Alessandro Bosetti.
In the frame of: SAVVY FUNK, an iteration of Every Time A Ear di Soun — a documenta 14 Radio Program.
Curated by : Marcus Gammel and Bonaventure Soh Bejeng Ndikung.
Regular Measures team : Grit Lieder, Janine Mueller, Benajmin Serdani, Markus Wesphal.
Demiurge’s voice : Marina Kern.
Regular Measures is a radiophonic performance and situation. It requires a dark space where the listening audience could comfortably sit or lie down and where four selected guests find themselves interacting with a community of sound creatures and a mysterious master of ceremonies or Demiurge.
The performance should have a durational character of one or more hours so that the physical and visual sensations and memories could have time to fade away.
It’s speculative and almost metaphysical character obliges us to meditate on the foundation of a purely sonorous world – or community of voices – while it’s musical charachter unfolds naturally from the self organisation of such community.
“You are about to enter a universe that’s just made of voice”. After this announcement has resounded the selected guests as well as the audience find temselves immersed in darkness and surrounded by a sound environment exclusively constituted by voices. These voices are detached from language and scattered in an immaterial universe of which they are the only elementary particles. It’s perceivable reality and ever changing landscapes are solely constituted by voices constantly reorganising themselves.
Guests become soon aware of the fact that they are responsible for the shape and direction that such universe is taking. They have became part of it and have acquired the power of transforming it. They have to find out how to do so while interacting with the mysterious and distant Demiurge which communicates with them only through a limited repertoire of enigmatic sentences. The Demiurge sentences seem to have only a mediated and elusive grip on the sonorous reality which is forming itself.
This surprising universe is a fabric of intertwined voices suspended within the void. It soon poses a series of ethical, aesthetics and philosophical dilemmas to the guests which are now inhabiting it and determining it’s future shape.
It’s a universe that resembles not only to bi-dimensional Flatland by Edwin Abbott’s or isolationist outher-world of Jean Paul Sartre’s Huit Clos but also has the structural features of a victorian Parlour Game or of a behavioural tests as the Milgram test.
Moreover it is an essentially radiophonic situation in which sound creatures come to life as purely sonorous subjects. Their condition and destiny are uncertain and their materiality is limited to that of a plurality of disembodied voices.
Regular Measures takes it’s name from a sentence of Greek philosopher Heraclitus for which matter is born in the shape of tiny fires appearing and disappearing at a regular pace in the same way as the particles of disembodied voice populating our sound universe appear and disappear from it’s aural horizon. As they are devoid of a body that could vouch for their existence, each time they remain silent we are forced to supposed that they have ceased to exist and still they keep reappearing as tiny sparks of light or matter.
Regular Measures is part of a series of pieces and of an ongoing research on the potential of purely sonorous communities or hyper polyphonies. They are explored along with the fantasy of a purely voice-made and body-less sound creature possibility. It draws an alternative theory of voice as emergence and autonomous entity and explores utopian new possibilities and concepts of polyphony as community.