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The live sonic art genre encompasses mixed acoustic/electroacoustic sound sources in live performance (also known as live electronics) and is a true multi-modal art form encompassing at least sonic, visual and dramaturgical components within its artistic remit. The genre presents an expansive local-field relationship identifying numerous points of dialectical critique that correspond directly with the paradigm of musical transcendence. It presents the human body in gestural timeframes as the origin of all music, and the natural world together with environmental timeframes as transcendent. This deeply significant ethos positions not only live sonic art but music in general as an artform that naturally extends along an expansive continuum from the orbit of mundane human existence to the realm of the sublime – the spiritual and eternal plane that we refer to as transcendent.


Ear to the Earth extends on this paradigm by making use of a custom-designed instrument set constructed from local materials, such as wind-fallen tōtora, kahikatea, kānuka and goat skins sourced from within Kahurangi National Park. An element of practice seeks to coax-out the oneiric (dream-like) qualities of the materials themselves and bring them into the music making process.    

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