‘David Lowenthal has written: “Perception of scenery is only open to those who have no real part to play in the landscape.”' (R. Murray Schafer, 1994) For this performance, abirdwhale (Kakinoki Masato) resides in Tübingen for a certain period, and soaks himself in the soundscape of the city. He fixes the sound objects taken from the Tübingen soundscape in audio files, and then curves and fluidifies them into his own soundscapes through audiovisual improvisation.
Through the improvisation, the audience would sonically experience the artist’s journey into the city. There, the recorded external reality will be abstracted into the artist’s internal responses, imagination and ideal soundscapes. What he attempts to show is not the analytical presentation of the total soundscape of Tübingen, but rather, 'a sensation, not a finished work of art’, which is ’the “primary process” of making contact with matter’ (Robert Smithson 1996), the soundscape.
This improvisation is his process of seeking for the contact points with the city. The generated visuals indicate his physical intervention in the soundscapes, and sonic transformations. As he manipulates and uses the sounds with his hands during the performance, the contact points would be where the city is embodied and integrated with him, or where his mind and body are absorbed by the city. By referring to Thomas McEvilley, there is the aspect of letting the outside world into the performing space (McEvilley, 1992) in the performance.
The residency takes place in October 2017, and the performance is from 9:00pm to 9:30pmon 21 October 2017.