SHAKUHACHI
Guido Dettoni proposed to Miura Taro, a master of the Shakuhachi Zen flute, to join for a creative dialog between music and matter. So Guido was shaping with closed eyes and Miura playing, both improvising in reciprocity.
In the vídeo, the changing shapes of wax within hands are to be “touched with the eyes”.
Once the audiovisual experience is over, the final shape, hidden from the sight, can be “exclusively seen with the hands” by introducing them in a soft fabric sleeve. This can happen by appointment with Guido Dettoni in Barcelona (guidodettoni@gmail.com) or with Miura Taro in Japan (take_yume@sky.plala.or.jp)
This performance was hosted by Mercé Capdevila at her house in Barcelona April 2014.
Video & audio recording by Àlex Martínez Figuerola. Photography by Javier Parrilla.
Video editing by Juan Berlanga, directed by Guido Dettoni and produced by NESHER EDITIONS.
Matter and Sound
The sounds of the speech are converted into meaning. This relationship between sound and meaning generates the language. This Transmutation experience was about transducing the sound of the Shakuhachi capturing its physical waves to materialize them in a malleable matter through hands reaching the same “tempo” of the musical theme. Hands can find a morphological consistency with the sound. Initially they listen; the matter is heard and speaks to the touch in mutual reciprocity. Then the sound “becomes visible” within a new horizon of the thinking.
Antoni Pons
Semiologist
Barcelona 1.6.2014
Materia y Sonido
Los sonidos del habla son reconvertidos en significado. Esta relación entre sonido y significado genera el lenguaje. En esta experiencia de Transmutación se ha tratado de transducir el sonido del Shakuhachi -de captar sus ondas físicas- para materializarlo en materia maleable a través de las manos alcanzando el mismo “tempo” del tema musical. Las manos son capaces de hallar una coherencia morfológica con el sonido. En un primer tiempo las manos escuchan y la materia se oye, habla al tacto, en mutua reciprocidad. En un segundo tiempo, el sonido “se hace visible” dentro de un nuevo horizonte del pensamiento.
Antoni Pons
Semiólogo
Barcelona 1.6.2014