Utstillingen The Wind Cannot Hear Me er Craig Wells' doktorgradsprosjekt, en 18-kanals installasjon produsert i samarbeid med Lydgalleriet og Griegakademiet/KMD. Vinyl- og boksalg i begrenset opplag!

Installasjonen kan oppleves på Lydgalleriet 30.– 31. oktober og 6. – 7. november kl. 12–17.

"An amorphous globule that we call home. Thinking is diagrammatic and compresses parts into a perceived object that reassures us that it is continually waiting to be revisited as a state. Its rate of change is slower than ours. Listening is certainly a cochlear cartography that connects the field of objects within a shifting field of dispositions. Matter is pregnant and capable of generating form on its own, language does not cut reality but rather is cut from reality. We listen to novel languages, as things mingle amongst themselves and buffer one another’s qualities into sonic evocations. A constant swarm of tiny heterogeneities. The air is animated with countless forms, a multitude of frequencies each with their own micro-politics. Sound employs bandwidth plateaus in order to express itself amongst countless other expressions. Existence is a fleshy stethoscope and one can simply put ones ear to the ground and hear what is forming and deforming. As one thing happens in coordination with another, a semblance of reality is formed as an acoustic arena, a sonority in which a listening body emerges, pocked and marked by acoustic trajectories. It is important to stress that I do not refer to noise as the everyday noises of things in the environment but rather an ontic noise, a larvae from which all sound emanates. I envisage this as a deep vibrational noumena behind sonic appearances and phenomena, a site of ontic quivering smoothness, an undifferentiated soup, a density and pressure where creases arise and pierce through the surface into the symbolic. To make a simple analogy, white noise covers the entire range of audible frequencies at equal intensities until it is filtered and subtracted."

Craig Wells er en lydkunstner og komponist basert i Bergen, Norge. Hans praksis fokuserer på syntese, lyddiffusjon, elektroakustisk komposisjon og feltopptak. Hans forskningsinteresser kretser rundt materialisme og fenomenologi med særlig vekt på lytting og soniske møtepunkt. Wells jobber under ulike kunstneriske aliaser som Refrains, Klunks, John Feathergail og Vonrik Haug og har gitt ut flere album internasjonalt. Sentralt i hans kunstneriske bestrebelser er bruken av lyd og filosofi for å forstå hvilke tankeformer lyd provoserer og agiterer. Et overordnet perspektiv i forskningen hans er hvorvidt det er mulig å forene sonisk erfaring med det skrevne ord.

Foto: Vonrik Haug.

The exhibition The Wind Cannot Hear Me presents Craig Wells' final Phd showcase of a 18-channel installation in collaboration with Lydgalleriet and Griegakademiet/KMD. Limited edition vinyl and book sale!

The installation can be viewed at Lydgalleriet 30.–31. October and 6.–7. November, 12–5 pm.

"An amorphous globule that we call home. Thinking is diagrammatic and compresses parts into a perceived object that reassures us that it is continually waiting to be revisited as a state. Its rate of change is slower than ours. Listening is certainly a cochlear cartography that connects the field of objects within a shifting field of dispositions. Matter is pregnant and capable of generating form on its own, language does not cut reality but rather is cut from reality. We listen to novel languages, as things mingle amongst themselves and buffer one another’s qualities into sonic evocations. A constant swarm of tiny heterogeneities. The air is animated with countless forms, a multitude of frequencies each with their own micro-politics. Sound employs bandwidth plateaus in order to express itself amongst countless other expressions. Existence is a fleshy stethoscope and one can simply put ones ear to the ground and hear what is forming and deforming. As one thing happens in coordination with another, a semblance of reality is formed as an acoustic arena, a sonority in which a listening body emerges, pocked and marked by acoustic trajectories. It is important to stress that I do not refer to noise as the everyday noises of things in the environment but rather an ontic noise, a larvae from which all sound emanates. I envisage this as a deep vibrational noumena behind sonic appearances and phenomena, a site of ontic quivering smoothness, an undifferentiated soup, a density and pressure where creases arise and pierce through the surface into the symbolic. To make a simple analogy, white noise covers the entire range of audible frequencies at equal intensities until it is filtered and subtracted."

Craig Wells is a sound artist and composer based in Bergen, Norway. His practice focuses on synthesis, sound diffusion, electroacoustic composition and field recording. His research interests oscillate around materialism and phenomenology with particular emphasis placed upon listening and sonic encounter. He works under various artistic monikers such as Refrains, Klunks, John Feathergail and Vonrik Haug and has released multiple albums internationally. Central to his artistic endeavours is the use of sound as a means to inflect philosophical contemplations in order to understand what forms of thought does sound provoke and agitate. An overarching sentiment to his research is how is it possible to reconcile sonic experience with the written word.

Photo: Vonrik Haug.