Sound Art Forum
curator: Daniel Brożek
The score for the composition was made by an organism fighting a disease while the instrument was single-handedly made by the patient. The score as biorhythm is based on the body’s life processes, and the construction of the instrument refers to the acoustic-articulation properties and construction of the colon and anus. This composing gesture breaks off with the classically-understood abstract character of music in favour of corporeality of the sonic experience, reduced to the most basic elements. The instrument is synonymous with a bodily organ while the musical piece is a registration of the body’s functioning. There is no room here either for Cage’s randomness, which could be suggested by conscious omission of the process of composition, or conceptualism, which reduces the creative process to an algorithm-recipe for a self-producing piece. What we are listening to is Sebastian Buczek himself, the rhythm of his illness, the sounds of the processes occurring inside him. Sound art promises to enter the structure of sound, immerse in its essence. Sebastian Buczek becomes sound.
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The instrument is conceived of as a silicone pipe the size of a saxophone, with lids or other elements for changing the frequency and a closing outlet that makes it possible to change sound articulation to a degree greater than in a saxophone. Closing the pipe’s outlet and adjusting the size of this outlet to a varying degree, until complete closure, could be a way of obtaining many original sounds. The form of the construction would refer to the construction of the colon and anus, with the sphincter situated at the end of a long pipe. It is funny that each of us has been experiencing the musical potential of this organ since childhood. Probably, however, the sense of smell has dominated the sense of hearing by endowing these anus-generated sounds with embarrassing character and forcing the sound producers to seek refuge in isolated places and feel ashamed of their composing activities. However, when faced with death, all culture-induced inhibitions and social blocks disappear. I wish for my instrument to become a work of art, a living instrument used to play not just my score, but to win renown and find its virtuosos, just as it happened with Adolphe Sax’s invention …
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I began writing a diary and jotted down the thickness and number of poops … I also kept track of what I ate … I later observed that the textual representation of these data was completely unclear. It was hard to see at a glance what I ate, what happened and when a given phenomenon occurred … I felt very bad and I thought for a long time about making a graph. I took a lot of drugs and dietary supplements, vitamins; I figured out that the graph would provide me with information about what was working and how … I started drawing a poop line and marked a curve of silver and gold used by my Siberian healer. My condition would not improve for a long time and the curves oscillated at minimum levels. The poop curve, the energy curve and the optimism curve. While making the graph, which was accompanied by a mini-diary, I experimented with different healing methods until the colon curve slowly began to grow … while the energy curve reached the drastic minimums less frequently … By that time, I had already marked ten symptoms, apart from the most common sounds. The composition probably started to change thanks to the treatment, and the disease began to subside! … The lines started to behave differently. I marked the observed symptoms in the rows in a table below the main graph. These rows resembled the system of sound notation. In this way, I began to think about the graph in terms of a peculiar score. As I was gaining strength, I wondered what these notations would sound like if they were performed by a group of instrumentalists or a choir.
It seemed to me that recreating this notation could be helpful in understanding the cycles or rhythms, or perhaps in discovering an invisible factor that influenced my health and well-being … The graph drew lines, very chaotic and unpredictably volatile; the only regularity seemed to be the consecutive periods of drowsiness and periods dominated by headaches and breathing difficulties. At times of powerful Crisis and weakness, when I drew my lines with a pencil, I would immerse in hour-long states when I was catching “my last breath”, mired in despair, drained and weak. Shaking, sweating, with my heart racing. Interestingly, my state of health was not reflected in the test results. I was not running a fever, I only had increased levels of bilirubin. In the opinion of the “attending” physician, I was as fit as a fiddle. Meanwhile, my disease is just “an immunological recollection.”
SBG – zonal headache or migraine.
WĄTROBA (LIVER) – stabbing pain in the right side, under the ribs or at the back.
ZG – vertigo.
SP – chapped cheeks.
STAWY – pain in knee, hip and shoulder joints, swollen hands.
EMO – unnatural excess of emotions, irritability.
DEPR – depression, occurring unexpectedly and vanishing equally unexpectedly.
DP – shaking palsy.
DOD – strange spiritual sensations. Strong DOD is the experience of the existence and closeness of the so-called Hell.
photo: Olga Jasnowska