Listening session # 3: Félicia Atkinson, “First House of Echo”
– Listening session # 1 : Saturday 9 Decembre, 4 – 6 pm.
with pieces by Pauline Oliveros et une œuvre originale de Félicia Atkinson.
– Listening session # 2: Saturday 13 January, 4 – 6 pm.
with pieces by Hildegarde de Bingen et Alice Coltrane et une œuvre originale de Félicia Atkinson
– Listening session # 3: Saturday 20 January, 4 – 6 pm.
with pieces by Eliane Radigue and an original piece by Félicia Atkinson
– Listening session # 4 : Saturday 27 January, 4 – 6 pm.
with pieces by Myriam Amacher, Delia Derbyshire, Daphné Oram and an original piece by Félicia Atkinson
– Listening session # 5: Saturday 3 February, 4 – 6 pm.
with pieces by Sachiko M et Ami Yoshida and an original piece by Félicia Atkinson
– Listening session # 6: Saturday 17 February, 4 – 6 pm.
with pieces by Laurie Spiegel et Suzanne Ciani and an original piece by Félicia Atkinson
– Listening session # 7 : Saturday 10 March, 4 – 6 pm.
with pieces by Emahoy Tsegué-Maryam Guèbrou et Adèle Sébastian and an original piece by Félicia Atkinson
Admission free, but book in advance: email@example.com
Félicia Atkinson is offering an immersive sensorial experience—
founded, this time, on listening—for which she establishes the preconditions for developing a special kind of attention, a personal point of contact with other creators. During a seven-month residency at La Galerie she will be organising a series of deep listening sessions inspired by the work of American composer and musician Pauline Oliveros. These listening situations take into account the circumstances of an experience involving a cluster of physical, biological, subjective, theoretical and other dimensions to be found in the architectural space concerned, the sound system used and a subjective listening history drawing on the sediments of a more or less acute awareness of sound. Lasting two hours, these sessions establish the preconditions for a certain type of listening enabling the audience “to enter into the music or let it enter into them”, as Atkinson puts it. Whether directionless, intense, attentive or furtive, this listening will feed a kind of memory from one session to another, perhaps inducing a community of experience. During the sessions Atkinson broadcasts her own music as well as that of guest musicians and women composers ranging from Hildegard of Bingen, the 12th-century Benedictine mystic, musician, linguist and physician, to Delia Derbyshire, the 20th-century composer of electronic and concrete music. She guides the listening with her own voice, using it to establish between these women new sensory channels for the transmission, interlinking and intermingling of their
practices, and branching off down paths that are not those of a linear history of music. Throughout her residency she will be creating hospitality situations, offering other, improvised sharings and sensory experiences outside chronological time.