There’s a position between ‘sound in itself’ and ‘non-cochlear’ approaches that is not uninterested in what it sounds like, just more interested in what its effects are, what the forces are that produce it. This position hears, but also reads sound. Sound, as a text to be read:
• results from unexpectedly intersecting forces;
• is the site of multiple disciplinary crossings;
• is the sound itself, its social character and its effects;
• dealing not just with what is but may be;
This is our position.
Festivals are uniquely placed to provide context for the experience of new ideas, approaches – and sounds. If festivals are to be at all culturally relevant, if they are to break new ground or be ‘socially true’, they need to make use of their resources to create conditions under which disclosures may obtain to the works and the larger contexts which produce, enable and frame them.
What follows are some of these proposals.