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Of Sound and Other Man-Made Objects

 

TBP is an artist collective based in Karachi that has a sonic core. It’s member’s include conceptual performance artist Abi Tariq, video game developer Danial Hyatt and sound sculptor Zeerak Ahmed. The collective recently performed at The Dawood Foundation Ghar, a recently restored 1930’s home with a view of the Quaid’s mausoleum.

 

The passive and active consumption of sound renders the sonorous peripheries as hostage to it’s audibility. Sound by it’s nature of being dispels as soon as it is administered. The tangibility of sound can perhaps be objectified through it’s imprint. It must be seen isolated from the recording and playing back of sound which renders sound to a fugitive state of playability on demand. TBP crafted an audible encounter with the city’s heritage, rendering the space itself as a subject. A reactualization of the sound dislocated from the experience could render it vacant.

 

A serenade of restless symphonies and vagrant harmonies colliding into one another in a seamless cascade of dripping sounds and swinging palindromes. Rippling outwards, arranging themselves as accessories to air. Caucus melodies swung in verbatim; drifting and flinching, sighing and rhyming, philandering and murmuring.

 

Music cannot be secularized from the ordered system of perception of the individual experience. Music as rhetoric of the heard crystallizes into a sound, which is then placed into the harmony of the sonorous framework. An ordered synchronization of the aesthetics of sound. The listening of sound establishes it’s tangibility. The bias of the heard itself is rendered frail when associating sound as an instrument of authority. The mausoleum a physical residue of a bare-faced revolution; an ardent rendition of the vanguard. The institutionalization of sound in politics allows for the communicable to be dispensed through an authority. In establishing the probability sound as an instrument of power, the TDF Ghar overlooking the mausoleum allows for the periphery of sound itself to be looked at panoramically. The function of music incubated within the space allows for a reading into the creation of sonorous territories and the parable of the subjective.

 

Using the space as a vessel induced a momentary lapse in the way we consume existing narratives, which exist in an otherwise state of aspirational martyrdom. The Mausoleum itself is a monumental gesture incubating the birth of a nation. The performance allowed for a poignant experience of a historical monument, monitored through a meticulous calibration of sound. The sound resigning as a breeding ground for rhetoric which then exiles itself by default of it intrinsic nature.

 

Symphonies strung with oblong whispers, shredded pelts, pulsating waves spilling across the rooms in a subtle mime of a diluted pantomime. Strung, hammered and chiseled; carving the sonorous into the audible. The genre of listening itself is marred with the territorial aspirations of sound. The dichotomy of the heard and the object of sound; a pelting tale of the vexing equilibrium that allows for the tangibility of sound.

 

Seated against the window framing a view of Quaid’s mausoleum whilst consuming the sound resulted in a passive personification of the experience. The white marbled facade stood chiseled against the shrinking skies. Crows filtered in and out of the frame. The sounds crafted by TBP played against the drowning sun. Gargling and moaning, it seemingly orchestrated the skies. As slippery hues of purple colored the sky, the blues struck into rich golds, and mottled crimson. Like little pariahs the sounds drifted into the skies; the marbled facade a stark silhouette against the vanishing sun. Petulant, polemic; like a sharp riot coaxed with the febrile threads of sound.

 

Resting in an allegorical state the sounds became a fictive rendition of the space, crafted within the residue of another space, allowing for a monogamous conclave of dichotomous resonance. A contemporary articulation dispensed with unabashed refrain.

 

Perhaps it was the invisibility of the medium that allowed for a pervasive digression to be rendered by default. With the city being novice to conceptual music one may find qualms in the achieving a mode of response. In establishing our individual roles as the listener we may perhaps provoke the threshold of collective experience, however it is through a reconciliation with sound as an involuntary experience that may allow for the expansion of aesthetic sensibilities to be augmented beyond the visual expression.

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