Lambros Pigounis | SAE Institute (original) (raw)
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Papers by Lambros Pigounis
The notion of a " politics of sound " or " micropolitics of noise " refers to processes that seek... more The notion of a " politics of sound " or " micropolitics of noise " refers to processes that seek to intensify frequency vibration as a technique of affective mobilization. On a performative level the term refers to the transformation of energies through the sonic/vibrational field that can be found into any performative space. I hope that the following approach provides a solid foundation for unlocking the role of sonic energy and the human body in performing arts in relation to the impact they may cause to the environment of the performance space. The proposed model considers the human activity as its central theme. Yet as it emerged, it became apparent that this essay is not so much about a musical narrative language as about the relationship of the human action to other possible sound sources and agencies, whether natural and environmental or human-made and synthetic. Thus, while we identify the human being as the central agent in the discussion, other entities will be identified and contribute to our sonic discourse. This performative approach explores the sonic-vibrational elements and qualities in the art of performance with regard to the human body and cognitive processes. The model of sound art performance suggested here will present its practical approaches through analysis of the author's recent sound art performances: Micropolitics of Noise and The Ritual. In these two works, the emphasis is placed on the communicational model that draws attention to how the human agent/performer creates relationships between the vibrational, technological and the social space. Therefore, I suggest an inquiry into the field where sonic energy and effort coexist and portray the art of sound and performance as an integrated human activity.
What does it mean to pose a question—and to whom, and to what ends, are such questions posed? We ... more What does it mean to pose a question—and to whom, and to what ends, are such questions posed? We have seen much analysis about " the state of theory today, " whether reflecting on the formation and dissemination of concepts or interrogating the status of critical thinking in the arts and humanities. But such analysis, for all its attention to shortfalls and disruptions in our contemporary habits of thought, often beg the most basic and central question of any artistic or critical project: What is a question? What is a question? How does one formulate a critical problem? We are interested in discussing the point(s) in the creative or analytical process at which something like a question takes shape. Quaerere: to ask, to seek. Etymologically speaking, questioning designates an open-ended and multifarious process of investigation, anything from an invitation to an interrogation, from an adventure to a quest. To the extent that a question begins to take on form—as an inquiry that might presuppose an answer, for instance—it might bear additional demands upon us as artists and thinkers. What is it we ask of our materials and our concepts? In what ways does methodology extend from the starting questions that we ask? What is a question? In posing this meta-question in turn, we are not interested in reprising debates about the " state of theory today, " nor are we interested in pitting specific conceptual approaches against one another in order to derive a magical answer to contemporary method-ological debates in the arts and humanities. Our aim here is procedural rather than evaluative, with the understanding that sometimes the simplest questions are the hardest to address, or, at the very least, the most intricately bound up in the fulfillment of our conceptual aspirations. We asked contributors to this forum to consider the following: As an artist or a scholar, how would you describe the interactions with materials, objects, archives, and preexisting concepts through which your intuitions, expertise, speculations, and hypotheses form, reform, or deform? Do all your questions form in the same way? What would you advocate exploring further in relation to the question of the question? As an intellectual worker in the arts, how do you respond to the question of “What is a question?”
Conference Presentations by Lambros Pigounis
![Research paper thumbnail of Micropolitics of Noise [text in Greek]](https://attachments.academia-assets.com/54566795/thumbnails/1.jpg)
](Μια μακράς διάρκειας Sound Art Performance με σκοπό την μελέτη του θορύβου ως μορφή βίας και οι ε... more Μια μακράς διάρκειας Sound Art Performance με σκοπό την μελέτη του θορύβου ως μορφή βίας και οι επιπτώσεις αυτου στο ανθρώπινο σώμα. Πηγούνης Λάμπρος Συνθέτης -Sound Artist kinesphere@gmail.com Περίληψη Η παρουσίαση της εργασίας αυτής προτείνεται με αφορμή την πρόσφατη μακράς διάρκειας (324 ώρες) ηχητική εγκατάσταση-performance Μικροπολιτικές Θορύβου (Micropolitics of Noise) η οποία παρουσιάστηκε στα πλαίσια της έκθεσης AS ONE στο μουσείο Μπενάκη τον Μάρτιο και Απρίλιο 2016. Το έργο πραγματοποιήθηκε μετά από ανάθεση του ΝΕΟΝ και του Marina Abramovic Institute NY. Λέξεις Κλειδιά Επιτέλεση (Performance), Ακουστική Οικολογία, Θόρυβος, Μικροπολιτικές Θορύβου, Ενέργεια, Δονηση.
The notion of a " politics of sound " or " micropolitics of noise " refers to processes that seek... more The notion of a " politics of sound " or " micropolitics of noise " refers to processes that seek to intensify frequency vibration as a technique of affective mobilization. On a performative level the term refers to the transformation of energies through the sonic/vibrational field that can be found into any performative space. I hope that the following approach provides a solid foundation for unlocking the role of sonic energy and the human body in performing arts in relation to the impact they may cause to the environment of the performance space. The proposed model considers the human activity as its central theme. Yet as it emerged, it became apparent that this essay is not so much about a musical narrative language as about the relationship of the human action to other possible sound sources and agencies, whether natural and environmental or human-made and synthetic. Thus, while we identify the human being as the central agent in the discussion, other entities will be identified and contribute to our sonic discourse. This performative approach explores the sonic-vibrational elements and qualities in the art of performance with regard to the human body and cognitive processes. The model of sound art performance suggested here will present its practical approaches through analysis of the author's recent sound art performances: Micropolitics of Noise and The Ritual. In these two works, the emphasis is placed on the communicational model that draws attention to how the human agent/performer creates relationships between the vibrational, technological and the social space. Therefore, I suggest an inquiry into the field where sonic energy and effort coexist and portray the art of sound and performance as an integrated human activity.
What does it mean to pose a question—and to whom, and to what ends, are such questions posed? We ... more What does it mean to pose a question—and to whom, and to what ends, are such questions posed? We have seen much analysis about " the state of theory today, " whether reflecting on the formation and dissemination of concepts or interrogating the status of critical thinking in the arts and humanities. But such analysis, for all its attention to shortfalls and disruptions in our contemporary habits of thought, often beg the most basic and central question of any artistic or critical project: What is a question? What is a question? How does one formulate a critical problem? We are interested in discussing the point(s) in the creative or analytical process at which something like a question takes shape. Quaerere: to ask, to seek. Etymologically speaking, questioning designates an open-ended and multifarious process of investigation, anything from an invitation to an interrogation, from an adventure to a quest. To the extent that a question begins to take on form—as an inquiry that might presuppose an answer, for instance—it might bear additional demands upon us as artists and thinkers. What is it we ask of our materials and our concepts? In what ways does methodology extend from the starting questions that we ask? What is a question? In posing this meta-question in turn, we are not interested in reprising debates about the " state of theory today, " nor are we interested in pitting specific conceptual approaches against one another in order to derive a magical answer to contemporary method-ological debates in the arts and humanities. Our aim here is procedural rather than evaluative, with the understanding that sometimes the simplest questions are the hardest to address, or, at the very least, the most intricately bound up in the fulfillment of our conceptual aspirations. We asked contributors to this forum to consider the following: As an artist or a scholar, how would you describe the interactions with materials, objects, archives, and preexisting concepts through which your intuitions, expertise, speculations, and hypotheses form, reform, or deform? Do all your questions form in the same way? What would you advocate exploring further in relation to the question of the question? As an intellectual worker in the arts, how do you respond to the question of “What is a question?”
Μια μακράς διάρκειας Sound Art Performance με σκοπό την μελέτη του θορύβου ως μορφή βίας και οι ε... more Μια μακράς διάρκειας Sound Art Performance με σκοπό την μελέτη του θορύβου ως μορφή βίας και οι επιπτώσεις αυτου στο ανθρώπινο σώμα. Πηγούνης Λάμπρος Συνθέτης -Sound Artist kinesphere@gmail.com Περίληψη Η παρουσίαση της εργασίας αυτής προτείνεται με αφορμή την πρόσφατη μακράς διάρκειας (324 ώρες) ηχητική εγκατάσταση-performance Μικροπολιτικές Θορύβου (Micropolitics of Noise) η οποία παρουσιάστηκε στα πλαίσια της έκθεσης AS ONE στο μουσείο Μπενάκη τον Μάρτιο και Απρίλιο 2016. Το έργο πραγματοποιήθηκε μετά από ανάθεση του ΝΕΟΝ και του Marina Abramovic Institute NY. Λέξεις Κλειδιά Επιτέλεση (Performance), Ακουστική Οικολογία, Θόρυβος, Μικροπολιτικές Θορύβου, Ενέργεια, Δονηση.