Water Time Zone __ Mani-flow

Presented at SeeLab, Scheveningen, The Netherlands (2022)

 

 

Water Time Zone – Mani-flow is a two-folded aural installation that explores the malleability of listening through the inter-changing relationships between the listener, water and sound. This work explores our relationship with sound through a multi-faceted perspective on listening – rather than treating sound as an object or a phenomenon, it conceives sound as a process, in which the listener plays an active role to enact it through sounding.

 

Water Time Zone

 

In Water Time Zone, the concept of time is diffracted into various sonic happenings perceived in water – both as a source and a medium. As an omnipresence of life, water encapsulates not only the very impulse of human-being, but also the seasonal changes, climates, and the circadian cycle of other livehood on this planet. Thanks to the relational nature of water to its environment, the marks of life are significantly reflected in the large palette of sonic quality it embodies. Field-recordings of various aquatic forms are the crafter of Water Time Zone: ranging from the summer waves of the North Sea to the ice cracking of a nameless frozen lake, these “water sounds” shapes an experiential temporality beyond clock-time system, lucid, non-linear, changes exist to stay still.

From an aural perspective, one is here to listen not through their ears, but their full sensitivity available with their attention. By attending one to a physical interaction with water as a sonic medium, it challenges one to explore their fundamental relationship with sound not as an object, but an embodied process. It questions: what does water sound like to you? How does it transform when it is listened to and through, with a different preposition to you as a listener?

 

 

Mani-flow

 

In Mani-flow, the very identity of “listening” is explored through an intimate relationship between the listener and water. It takes the inter-changeable relationship between listener and the listened to another level – by inviting one to listen within water, it offers a context where listening becomes a continuous dialogue between the perceiver and the perceived.

 

Taking the transformative-ness of water and sound as its essence, it presents an alternative view of materialising an experience of water_sound, instead of experiencing the materialised water in sonic reproduction. Together with the substantial presence of this element, one is invited to explore listening not only in a varying temporal dimension, but also a multitude of spatial scale. Here, listeners perceive sounds through the conduction of their own body in water, with water-reactive ceramics pieces as another layer of sounding. By unfolding an experience with water as a co-presence, it opens up a renewing perspective of the relationship in between sound, water and I – sound as perceived through not only our ears but our very skins, whilst water can not only be listened to, but also listened through – wherever “I” am placed upon.