Extensions of Pleasure

 

Extensions of Pleasure (2018) deals with the possibilities of sound being not only a way of expressing pleasure, but an agent of pleasure. The author explores – from her explicit feminist perspective – the sound of pleasure of the Other, caused by their sonoric expression of pleasure perceived and mediated. The composer asks: Is pleasure really a romantic, sensual, flowing feeling, as it is conventionally understood? Or is it rather the point of disembodiment and destruction in its most constructive sense, and with long term effects, which derive precisely from its audibility? Is in that regard not crucial to know that the composer is a woman?

The composition is created from a single piece of recording in an intimate environment. Following the author’s desire (more, again) and her artistic practices of reconstruction and memory preservation, the recording is transcribed over and over again in a musical language, thus allowing the interpretation of particular sounds to be deepened and broadeneed. Furthermore, by focusing on the sound of pleasure (rather than the act of), her work embraces the sounds sorrounding pleasure. Pleasure is no longer only a feeling or an event, but a wider audible situation.

The listener is invited to listen from the composer’s perspective – the perspective of the woman. It is also circular (end=start) and it defies traditional (masculino-centristic) narratives. Even more, it shows the importance of the listener’s consciousness of their position in a patriarchal hierarchy, thereby overcoming objectification, and perceiving the woman heard not as an Object, but a Subject. The audience becomes a receiver and listener* of pleasure, which was already received elsewhere*.

* A constitutive element of Extensions of pleasure is a site- and situation-specific sound layer, which can only be delivered at its performance. As the technical specifications (see below) show, one audio channel is reserved for a real-time recording and playing of the sound of audience. They are placed in the situation of pleasure – both as receivers and agents of (dis)pleasure, therefore contributing to an ever unique composition.

Nina Dragicevic

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