Åsa Stjerna
Sound Arts Visiting Practitioners Series
Earth Song 2020/2021–Åsa Stjerna
Åsa Helena Stjerna is a Swedish sound artist using sound and listening as her artistic modes of exploration through installations and architectures. She is fond of finding connections between past and present, local and global, as well as human and more-than human. She seeks to reframe the act of listening, evoking a sensibility of places as complex ecologies. She is currently involved with several public art projects dealing with the articulation of urban spaces through sound and listening.
Stjerna has participated in an extensive number of exhibitions internationally and her works include several public permanents commissions. Stjerna represents professorship sound art at Hochschule für bildende Künste in Braunschweig, Germany, 2020-2021.
EARTH SONG | Site-specific sound installation
Sonification of Earth’s seismographical activity
The earth is “singing”. This song constitutes the conceptual outset for the since 2012 ongoing project Earth Song. Earth Song can be understood as an artistic interface which makes audible the seismic activity of a large-scale geography —often a whole country— and transforms this to an embodied sonic, spatial experience. The sounds in the installations are directly trigged by the seismic activities taking place at distant places in this very moment. Sometimes as audible bell-sounds , sometimes as pure vibration. In this way, using sound as both audible and tactile experience the work aims at establishing a connection to the vibrational song of our Earth.
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I like Jessica Ellis’ statement. The idea that Sound Arts ‘reaches out to the art world in a new and distinct way’ is quite exciting! It doesn’t taste like stale bread! When we don’t have strong etiquette and formalities in navigating the field we can explore and discover with innocence and freshness, making Sound Arts a powerful force. This too shall pass?
I agree that sound stirs biological roots. It makes me think about the emotional reaction to sounds. Is the reaction from our own personal history, or is there a longer ancestral history involved in our perception of sounds?
I wonder how we can explore the sources of the “thousand feelings in a thousand people’s ears” in a sound project, that listens and amplifies the interior back into the world. Maybe we can sing!