City Research Online

Abstract

This practice-as-research project explores ideas of ontological ambiguity, disruption and transformation through sonic materiality and conceptualisation.

Building on a consideration of drone as an ontologically ambiguous phenomenon that can present as both object and event, and an articulation of a material-conceptual sonic continuum, I describe a heterogeneous, transdisciplinary praxis in which diverse creative methods combine in a state of entanglement, destabilisation and reconfiguration of ontological identity and interrelationships. I discuss these processes in terms of atmospheres (Böhme, 2018), hyperobjects (Morton, 2013) technique as embodied knowledge (Spatz, 2015), and interrelations between and agencies of human and nonhuman bodies (Bennett, 2010; Ihde, 2009; Barad, 2007). I characterise this approach as rooted in an aesthetic of multiplicity (Stone, 2020), magpie methodology (Carter, 2013), unknowing-in-doing (Challenger, 2022), and wayfaring (Ingold, 2011). In this praxis personal embodied knowledge is deployed not as an agent of self-valorisation, but as a commons through which collaborative artists may support each other to extend their practice beyond the boundaries of their own expertise and experience. I propose this approach as having a wider societal implication in the cause of ‘being ecological’ (Morton, 2017), and suggest the term “Interflow” to describe this mode of transdisciplinary praxis.

Publication Type:	Thesis (Doctoral)
Subjects:	M Music and Books on Music > M Music
Departments:	Doctoral Theses

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