Play it by Ear
Play it by Ear began as a research trip in 2012 to Pythagoras’ Cave in Mt. Kerkis, Samos, Greece. The purpose of the research trip was to gather sonic material from both the caves themselves as well as the surrounding environments’ to bring back home to work with. The project itself is a continuation of my ongoing enquiries into and around sound and listening within a contemporary visual art context.
As the legend goes, Pythagoras fled to the caves in Mt. Kerkis c.400 B.C to escape the infamous tyrant Polykratis who was pursuing him. While in exile Pythagoras used these caves as a place of prayer, teaching and residence, developing many followers. Rooted in both mathematics and mysticism, his caves became a philosophical school, a religious brotherhood, and a political association. During this time it is widely believed that Pythagoras delivered his teachings from behind a curtain, in an attempt to activate a listening sensibility among his pupils. In doing so his pupils became known as akousmatikoi with Pythagoras often being accredited as the first acousmatic practitioner.
When exhibited Play it by Ear combines early enquiries into acousmatics with contemporary concerns around notions of sound(in)art, listening as a critical practice and its histories within a visual art context.
As the legend goes, Pythagoras fled to the caves in Mt. Kerkis c.400 B.C to escape the infamous tyrant Polykratis who was pursuing him. While in exile Pythagoras used these caves as a place of prayer, teaching and residence, developing many followers. Rooted in both mathematics and mysticism, his caves became a philosophical school, a religious brotherhood, and a political association. During this time it is widely believed that Pythagoras delivered his teachings from behind a curtain, in an attempt to activate a listening sensibility among his pupils. In doing so his pupils became known as akousmatikoi with Pythagoras often being accredited as the first acousmatic practitioner.
When exhibited Play it by Ear combines early enquiries into acousmatics with contemporary concerns around notions of sound(in)art, listening as a critical practice and its histories within a visual art context.
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