Sewing the Seeds of Sound

Interview with Karlheinz Stockhausen by David Paul, Brandon LaBelle "Word of Mouth " in Christof Migone – Sound Voice Perform.

Language is a developed skill, which permits anyone to communicate with one who possesses a similar vocabulary. The artist, Christof Migone, experiments with vast collections of human sounds. In his process he is able to map the subtleties of sonic emissions of the body. He outlines the mechanical aspect of the body making a parallel with a complex apparatus. Speech and language is but one mechanism. Through technology, including microphones and tapes, the presence of the body is modified. A separation occurs. Sound is disembodied, as is usually the case during telecommunication operation.

The relation between time and a natural approach to sound fascinates Karlheinz Stockhausen. This artist elaborates rules and structures, which enable music to grow. This organic link enforces how sound is an establishment of time. His compositions articulate what creates sound on a more technical level. Pulses and waves become tones. For Stockhausen, music has been traditionally based on the capacities of the body, such as wind power or muscle ability. He speaks of sounds as independent beings that require individual attention to harmonize successfully. Music becomes an organized whole greater than the sum of its parts.

For me, sound is a liberated phenomenon, which can traverse environments (including apartment walls). Humans have the ability to perceive emotions trough sound. It is difficult to imagine being deaf as each action in daily life awakens a sonic reaction. This process is automatic, unpredictable and involuntary. Sound even allows humans to observe the invisible. Think of wind, echo or even ultra sound. This is why I find it difficult to relate with artist who feel it is necessary to unleash sound from a prison humans build around it. Even successful multiplatinum albums are created by a harmony of biological and technical systems.

It has been possible for over a century to transport sound across unimaginable distances. Adaptors, connectors and modifiers in the form of human of machine permit sound to be manipulated in any desired or undesired way. Much may get lost in translation, but much can also be added. The number of variables, which may affect sound, is so great that it requires significant effort to reproduce them. This demonstrates that the search for erratic experiences is futile. One should be on the search of the perfect sound. There would be an accomplishment.