SURVIVAL SYNDROM
About.
Introduction and Artist's Identity
Welcome to my music research project blog, where I invite you to join me on a journey that questions the essence of the fifth element. My name is Ayham Allouch, i am a sound artist and Sonic researcher, captivated by the transformative power of sound and its profound influence on our perception and well-being.
My project revolves around field recordings collected from scattered places, each representing a personal, meaningful experience of the elements. Combining these recordings with the minimal gear I possess—a pair of audio recorders, a microphone, and a no-input mixer—I explore the concept of delayed feedback and self-feeding gain, creating a composition that flows freely. The compositions not only rely on minimal sound design but also aim to capture the essence of the elements and their interactions within our surroundings.
As an artist, my identity is shaped by my deep fascination with untuned frequencies—the sonic realms that exist beyond the confines of conventional musical scales. These untuned frequencies possess a mesmerizing potential to evoke profound emotional responses within our bodies and stir our innermost feelings. Exploring the effects of these frequencies on the body and psyche has become a central aspect of my artistic and research endeavors.
For me, listening goes beyond the act of hearing; it is a vital practice that opens the gateway to presence and heightened awareness in a visually overwhelming world. Listening enables me to regain focus and attention, allowing me to delve into the intricacies of soundscapes and uncover the hidden layers of sonic beauty that often go unnoticed.
In my research and practice, I have delved into the intricate relationship between intentional listening and its impact on our overall well-being. By embracing the power of intentional listening, I have observed how it can enhance cognitive abilities, foster emotional connections, and create profound experiences of mindfulness and inner harmony. Through my work, I aim to create immersive sound environments that invite individuals to explore the transformative potential of listening, guiding them towards a state of introspection and self-discovery.
In this blog, I will document the development and realization of my project, sharing insights into the creation process, technical challenges encountered, and the contextual elements that inform my work. Join me as we dive into the world of sound and embark on a sonic exploration that goes beyond traditional musical boundaries.
Stay tuned for future blog entries as we delve deeper into the fascinating realms of my music research project.
Entry 1: Eccentric Determination - Redefining Creativity without Financial Privileges
In the realm of electronic music, it is not uncommon to witness artists armed with heavy and expensive equipment, relying on financial privileges to kickstart their projects. However, my circumstances have forced you down a more austere path —a path driven by an eccentric determination to create music that transcends the need for lavish resources.
For me, the quality of my music should not be determined by the weight of my equipment or the size of my budget. I have encountered creative blocks in the past, where I found myself contemplating the idea of acquiring more resources and chasing financial stability to create something truly unique. It became apparent that relying solely on virtual instruments (VSTs) and technical hacks, while convenient, had led me away from my own artistic voice and the organic process of intuitive creation.
Driven by the desire to reclaim the momentum and authenticity of my music, I embarked on a personal journey to prove to myself that I can develop my own process without relying on excessive consumption. I refused to be swayed by the notion that financial privileges and acceptability are the prerequisites for crafting genuine artistic expressions.
By conducting extensive research and drawing inspiration from other artists, I set out to redefine creativity through resourcefulness and innovative approaches. Instead of succumbing to the allure of expensive gear, I explored unconventional tools, practices, and strategies to breathe life into my compositions.
Through this endeavor, I aim to demonstrate that true artistry lies not in the equipment we possess but in our ability to harness our imagination, ingenuity, and dedication. By embracing limitations and crafting something extraordinary with minimal resources, I seek to reaffirm the essence of creativity and challenge the norms prevalent in the broader music industry.
Join me on this eccentric journey as I break free from the confines of financial privileges and embark on a path that celebrates the power of ingenuity, resourcefulness, and self-expression in the realm of music creation.
Entry 2: Poetic Encounters - Exploring Soundscapes and the Essence of Home
During my travels to Thessaloniki and Cyprus this year, I found myself drawn to these destinations, as they were the closest I could visit with my EU visa—a semblance of home, yet not quite. In these places, I embarked on a quest to immerse myself in every nuanced experience, capturing the essence of what home truly feels like beyond the narratives depicted by national TV news or the words of poets. I sought to rediscover the hidden facets of familiarity—the scents, sounds, and memories that resonated deep within me, reminiscent of the moments when I used to pedal my bike to meet friends at the nearby basketball court.
As an exiled, one learns to respond to questions about home with abstract skills. Armed with my trusty Zoom recorder, I made a deliberate choice to close my eyes and embrace the notion of similarity without judgment—a daunting task for someone who delights in attaching names to things. With a playful spirit, I embarked on a journey of sonic exploration, guided solely by the pursuit of familiarity.
Within my recordings, an archive of sounds unfolded before me. Some were readily usable, while others demanded discernment. Most notably, I decided to exclude any sounds that contained recognizable languages, as this would allow me to minimize any preconceived notions about the geographical origins of my field recordings. By doing so, I distilled my collection to the most elemental sounds, stripping away the cacophony of industrial pollution, vehicular noise, and the trappings of technological urban civilization.
In the process, I began to recognize that the essence of what I was dealing with extended beyond mere sounds. It revealed itself as the embodiment of the elements: Earth, Air, Water, and Fire. Until that moment, I had been unaware of what I was truly seeking. I had stumbled upon a poetic journey—an exploration of the primal forces that shape our existence and define the tapestry of our lives.
Entry 3: The No Input Mixer Technique: Exploring Noise as Sonic Raw Material
In this report, I invite you to join me on a personal journey of exploration into the captivating No Input Mixer technique. Inspired by different inspiring artists, I delve into the depths of this technique that has left a profound impact on the world of experimental music. While commonly associated with Japanese noise music, the origins of this technique can be traced back to diverse musical groups across the globe, even predating the 1970s. To me, noise is not just a chaotic disturbance, but a subjective and malleable sonic mass that holds incredible potential as raw material for creating diverse and expressive musical compositions. Through this report, I will share my insights and perspectives on noise, its role as a creative instrument, and the concept of feedback loops within the realm of the mixing board.
Noise as Sonic Raw Material:
In my exploration of the No Input Mixer technique, I have come to view noise as a rich and fertile raw material that offers boundless creative possibilities. By treating noise as a pliable substance, I have discovered the ability to transform it through various techniques such as filtering and equalization. These processes allow me to shape and mold noise into tones and textures that deviate from the conventional characteristics typically associated with noise. It is within this realm of exploration that I have found immense potential, using noise as a starting point for my sonic endeavors and modifying it to align with my artistic vision.
No Input Mixer Technique and Feedback Loops:
At the heart of the No Input Mixer technique lies the creation of a feedback circuit within the mixing board itself. This involves connecting the output of the mixer to the input of a specific channel, effectively eliminating external audio sources. As I venture into this technique, I must exercise caution, being mindful of the potential risks and the potential damage it can cause to the equipment. However, I have discovered that different mixers offer unique sonic characteristics and present varying approaches to working with feedback loops or engaging in no-input mixing. Exploring these nuances and experimenting with different equipment allows me to unlock new sonic possibilities and expand my creative horizons.
Conclusion:
The No Input Mixer technique has unlocked a world of artistic expression for me. Through skillful manipulation of noise, employing techniques such as filtering and shaping, I have been able to craft compositions that transcend traditional noisy aesthetics. While presenting my project in a live situation may pose technical challenges, such as the absence of sound engineering support and the lack of analog limiters and compression units, I remain undeterred. I envision expanding my setup in the future, incorporating these elements to enhance the presentation of my work. With the inclusion of contact mics and high-quality microphones that capture the nuances of the performance space, I aim to create immersive experiences that push the boundaries of conventional music production. This evolution will not only enrich my own sonic exploration but also provide an elevated experience for the audience, fostering a deeper connection with the music.
In conclusion, the No Input Mixer technique opens up a world of sonic possibilities for me, allowing artists like myself to explore noise as a versatile sonic raw material. It is a journey that requires careful consideration and experimentation, but one that ultimately leads to unique and innovative artistic expressions.
Entry 4: Artistic Identity, and Musical Connections
Entry 5: Exploring Collaborative Possibilities: Integrating Vocal Expression and Performative Art
In this section, I will delve into the exciting potential for collaboration and the integration of vocal expression and performative art within my musical piece. Friends and fellow artists from the performance scene have expressed their interest in joining forces, envisioning an interactive performance that combines the sound piece with various artistic elements such as movement and painting. Additionally, the possibility of incorporating contact microphones and other devices attached to their bodies, feeding sound into the delay loop of the mixer, has emerged as a captivating avenue for exploration. Collaborative Integration: The idea of incorporating vocal expression into the musical piece brings a new dimension to the project. Friends who have a strong desire to contribute their vocal expressions have expressed interest in collaborating, bringing their unique voices to intertwine with the sonic landscape. This collaborative approach allows for a fusion of diverse artistic sensibilities, creating an enriched and multifaceted performance experience. Interactive Performance: Expanding beyond the boundaries of traditional music presentation, the vision for this project includes an interactive performance that encompasses various art forms. Collaborators from the performative art scene have shown enthusiasm for integrating movement and painting into the performance. Through coordinated and improvisational movements, the performers can engage with the sonic environment, responding to and influencing the soundscape in real-time. Simultaneously, visual artists can use their artistic tools to create a visual language that complements and enhances the sonic experience, adding a layer of aesthetic richness to the performance. Utilizing Contact Mics and Devices: To further augment the interactive nature of the performance, the use of contact microphones and other devices connected to the performers' bodies has been proposed. By capturing and amplifying the sounds generated from physical movements, gestures, and interactions with objects, these devices can feed sound directly into the delay loop of the mixer. This integration allows the performers to directly impact the sonic composition, creating a dynamic feedback loop between their actions, the sounds produced, and the overall musical piece. This symbiotic relationship between the performers and the sonic environment fosters a truly immersive and participatory experience for both the artists and the audience. Future Explorations: The possibilities for collaboration and integration in this project are vast and continually evolving. As the exploration of vocal expression and performative art progresses, new ideas and avenues may emerge. It is essential to foster an open and collaborative environment, where experimentation and creativity can flourish. The ongoing dialogue with friends and fellow artists serves as a catalyst for further development, propelling the project into uncharted territories and expanding the boundaries of artistic expression. In conclusion, the integration of vocal expression and performative art within the musical piece opens up exciting collaborative possibilities. By combining voices, movement, painting, and interactive technologies such as contact microphones, the performance becomes an immersive and multidimensional experience. The ongoing exploration of these ideas ensures the project's evolution and the continuous push toward innovative and engaging artistic endeavors.
Entry 6: Public Presentation
In this blog entry, I will share my experience of a public presentation that played a crucial role in my artistic journey. at Hošek Contemporary Named Topos after Greece meaning "Places", a setting that was both exciting and daunting. With my performance scheduled for early evening, in front of an audience seated on chairs, I felt an overwhelming sense of anxiousness. I had grown accustomed to performing in bass-filled spaces, surrounded by dancing bodies, sweaty energy, and dynamic lighting. I questioned whether my piece would find its place at Hošek, alongside renowned artists like Theodoro Posada, Maria Velez Gallo, Benjamin Flesser, and Tamas Marquetant. Despite these uncertainties, my previous experience of performing as part of CTM in Vorspiel Silent Green with our collective's audiovisual piece called "Tunnel to Damascus" provided some foundation. However, this time, I would be performing individually. The strong bonds I had formed with fellow artists and friends, who were also involved in the event, served as pillars of support and guidance, enabling me to persevere, find solutions, and build upon my piece.
Format and Audience:
The public presentation took place at Hošek Contemporary, an esteemed venue known for its commitment to showcasing innovative artistic expressions. The event featured an eclectic lineup of artists, including myself, Theodoro Posada, Maria Velez Gallo, Benjamin Flesser, and Tamas Marquetant. The audience, consisting of individuals with an appetite for experimental music and a curiosity for exploring new sonic realms, added to the anticipation and sense of responsibility I felt. The format of the presentation diverged from my previous experiences, as it took place during the early evening, with the audience seated in chairs. This created a more intimate and focused atmosphere, heightening the need for my performance to captivate and engage differently.
Feedback and Reflection:
Receiving feedback is an invaluable part of any artistic journey, and this public presentation was no exception. The support and insights shared by trusted friends and fellow artists who attended the event played a significant role in shaping my experience. Their feedback served as a source of motivation, propelling me forward as I navigated the challenges and uncertainties associated with presenting my work in a new context. The encouragement and guidance I received from these individuals allowed me to maintain confidence in my process, continue refining my piece, and explore ways to bridge the gap between my previous collective endeavors and my evolving individual artistic path.
In conclusion, the public presentation became a significant milestone in my artistic journey, pushing me to embrace new challenges and discover a fresh artistic direction. Despite the initial uncertainties, the support and feedback from fellow artists and friends reaffirmed my commitment to pursuing my path. This event served as a catalyst for growth and opened doors to new possibilities in my artistic exploration.
Reflection and Conclusion: Trusting the Artistic Process and Embracing Growth
Throughout this project, I have embarked on a journey of self-discovery and artistic exploration. One of the most significant lessons I have learned is to trust my intuition and embrace the ongoing flow of the artistic process. By staying present in the moment, I have been able to tap into my creativity and allow it to guide me toward new discoveries and possibilities. Additionally, I have remained aware of my schedule, continuously tracking my daily progress and taking small steps toward achieving the final result.
A key aspect of my journey has been the cultivation of curiosity and the willingness to ask questions. I have learned to carry my questions with me, allowing them to lead me toward new avenues of research and exploration. Rather than seeking external validation or comparing myself to others, I have focused on staying true to my own artistic vision and finding my authentic sound.
Looking back, I realize that having an early clear result would have benefited me in obtaining feedback and reflection at an earlier stage. It would have allowed me to make adjustments and improvements along the way. In the future, I will allocate more time before the final presentation to practice and refine my piece. By spending more time playing it in my studio, I can build confidence and rely on muscle memory to achieve a more polished and refined final result.
In conclusion, this project has been a transformative experience, pushing me to trust the artistic process and embrace growth. Through self-reflection and continuous learning, I have honed my artistic voice and expanded my creative horizons. Moving forward, I will carry these lessons with me, staying present in the moment, and remaining open to the ongoing flow of inspiration. By nurturing communication, seeking feedback, and embracing collaboration, I shall continue to evolve as an artist and make meaningful connections with the music