COALESCE

Ar tivi ve a pp an d ar tw or k through your smartphone

2 It is interesting to note that since the advent of sound recording, listening is increasingly becoming a solitary experience with no overt or observable behaviour on the part of the listener. Picture the solo commuter in the car with the radio on driving to work; the public transport user or pedestrian with wireless earbuds; the sweating jogger or gym member with headphones. For more information see The evolution of music: Theories, definitions and the nature of the evidence, Ian Cross and Iain Morley (2010)

C As an extension of this see Religion for Atheists by Alain de Botton. His text proposes that rather than mocking religions, agnostics and atheists should instead look to religions for insights into, among other concerns, how to: – build a sense of community  – make our relationships last  – overcome feelings of envy and inadequacy  – escape the twenty-four hour media  – go travelling  – get more out of art, architecture and music  – create new businesses designed to address our emotional needs.

VIDEO STILL: AROUND THE WORLD, DAFT PUNK DIRECTED BY MICHEL GONDRY GROOVES IN BEACH SAND CREATED BY WAVES 4 Almost all of what we experience as culture today has a lineage that traces back to the rituals of mystical/religiousC ceremony– a sentiment made explicit in various songs including the 1998 progressive house hit See God is a DJ by Faithless.

3 Consider a music festival. Thousands of people gathering togetherB forming make-shift campsites on the outskirts of the suburbs, taking refuge from a world of solitary audio– escaping micro spaces of in ear sound. Isolation is swapped out for a collective, shared sensation of music as it moves through a crowd, through fields, through trees.

came into being through the collaborative energy of an . Its sounds, images and ideas do more than summon a future de ned by collective aspiration,

Regardless of how, when and why it came to be, music remains an embodied experience, a celebration of the fact

6

The connections between music and the visual world have been explored across time by an array of proponents including philosophers, artists, inventors, filmakers and musicians. Some notable explorations include:

– In his book De Sensu, Aristotle discussed a possible analogy between color and sound harmonie (350BCE)

– Mannerist painter Arcimbodlo developed a system for creating color-music using tones of grey (1590)

– Scientist Isaac Newton put forth a set of color music correspondences in his famous foundational book Optiks (1730)D

– Oscar Fischinger’s music animations (1930 onwards)

– Various scientific explorations of chromosthesia–the rare ability of some people to see colours when listening to musicE.

– More recently the visual translation of music into video clips by directors like Michel Gondry for artists like The Chemical Brothers and Daft Punk.

3 million 2.5 million 2 million 700,000 400,000 250,000 175,000 125,000 45,000

A It is important to note that the development of music as part of human culture is entangled with that of the more-than-human. The human ear evolved to hear within a certain range– between 20 and 20,000 vibrations a second (Hz). The majority of bird songs have frequency ranges between 1000Hz and 8000Hz which places them in the sweet spot of human hearing (the resonant frequency of the human auditory canal is 2000-5000hz). Our hearing is attuned to birdsong as an indicator of prosperous sites– places where food, fresh water and favourable seasonal conditions can be found.

WE EXIST BY VIRTUE OF OUR TIES TO ONE ANOTHER AND TO THE MORE-THAN-HUMAN 5

THEY ENACT IT.

VIDEO STILL– MOTEZ - MAKE WAY (FEATURING ELSY WAMEYO) DIRECTED BY DAVE COURT (2023)

AN OPTICAL

VINYL RECORD GROOVES UNDER MAGNIFICATION

FILM STILL–

POEM, OSKAR FISCHINGER (1938)

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