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When I was confined, listening became my best friend by Ben Glas
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The presented piece here is something that I have been ruminating on, long before the shutdowns of Covid-19 (or the Great Humbling) took effect. What does it mean to listen? What does listening look like? Are we limiting ourselves in the kinds of experiences we can have through listening, by placing too many expectations upon the practical act of listening? I wrote this score some time ago, and found myself revisiting it during the initial stages of lockdown here in Berlin. The lockdown presented me with the unique opportunity to simply do one thing at a time, and I thought and felt this score to be a good starting point.

To perform this score, simply play the accompanying sound through speakers. Any speakers will do, really. Then try some of this score out. The point of the score is to get the listener into a loose state. The accompanying sound is a simple tonal drone, composed of standing waves. Essentially, it is relativistic and your perception of it will change, as you move through your space.

Ben Glas (b. 1992) is an experiential composer based in Berlin. Through ephemeral compositions Glas' work questions preconceived notions between the acts of passive hearing and active listening. In seeking to discover open ended forms of music and pragmatic listening perspectives, Glas' compositions focus on the realms of subjective perception and cognition, via the use of acoustics, psychoacoustics, text and space as tools for sonic composition. His work has been exhibited and performed internationally, including the Portland Institute for Contemporary Art (PICA), Glasgow's Radiophrenia festival, the Soundwave Biennial (SF) and the Czong Institute for Contemporary Art (CICA). Glas holds a BFA from the Pacific Northwest College of Art and is currently receiving his MA in Sonic Studies at UdK.

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