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Esaias Järnegard

Ecstatic techniques

Contact: esaias.jarnegard@hsm.gu.se

The notion of ecstatic techniques is used as an intermediary – liminal – condition and inspiration for a project within the domain of notated chamber music. Techniques of ecstasy is essentially a term which one finds in description of archaic expressions, such as the techniques of the Shaman (c. f religio-historian Mircea Eliade), but not only; during the 20th century and onwards the exploration of ritual practice within the framework of the western tradition has seen an immense growth. On a philosophical level, on an artistic level and on a political level.

My project aims at a harmonizing between the philosophical ontological claims by, essentially, Martin Heidegger (and subsequently developed by for instance Giorgio Agamben) and the idea of a modern project of sound made visible by artists such as Giacinto Scelsi, Pierluigi Billone, Diamanda Galas and Antonin Artaud.

It depicts the artist as one associated with an idea of the original structure of art, that is an expression linked to the explanation of the world in a communal setting. A holistic approach to art which questions the limit of language (and therefore also, notation), but nevertheless uses the graphical reality of the score and its implied practice on sound as a critical tool to reach a method of composition.

A starting guideline is that of the idea of sound as an immediate expression. How is it possible to create a notation and work on sound that develops and takes form on the limit of representation and nevertheless contains and transfers itself onto a stage?

As an end quote, philosopher Giorgio Agamben:
"It is perhaps time to call into question the prestige that language has enjoyed […] considered in itself, it is no more beautiful than birdsong, no more efficacious than the signals insects exchange, no more powerful than the roar with which the lion asserts his dominion."

Page Manager: Tobias Egle|Last update: 2/18/2019

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