About Me
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Introduction to the fixed media compositions of Antti Sakari Saario
My electroacoustic works represent a continuing development of fixed-media aesthetic, related compositional techniques and their creative applications, through an experiential encounter with sound. My catalogue of works can be seen to arc a rhizomic line of flight from the pure acousmatic output of. The compositions are always referring to their impossibility outside the fixed media domain by highlighting the inherent possibilities, limitations and artefacts of the media. The active use of artefacts, glitches and controlled accidents in structural processes allow for limitless transformations of spaces within the medium, and also emphasises and celebrates the fault, the edit and the faux paus. The pieces are further connected by their shared interest in the exploration to the structural implications of varying notions of sonic time and timeline fragmentation – notions of feedback, replay mechanism, dynamic perspective shifts and memory being integral to the unfolding of the aural discourse.
The pieces aim to create a sense of fluidity of shapes and motion out of clearly defined micro and macro levels blocks of sound, that can be seen as Schaefferian objects sonore. On poietic level of the compositional process, block structures and dynamic non-linear unfolding of the work has been influenced and informed by diary and sketchbook work, both as praxis and as an area of literary research and inspiration. The concept and praxis of écoute réduite, which originates from the acousmatic tradition and thus links the work to (Greek) mysticism and associated modes of interaction with sound, has functioned as the absolute origin for the constructions. Through this primacy to the ear mentality as a compositional perspective the composer’s focus lies in most part on the corporeal manifestations of sound and its extension – music, with the desire to bring the perceiver closer to the mystical moment of ‘now’ and thus focus on what is. Sound as an experience, space or an existence.
For each work the composite spectromorphologies have been sourced, selected, gathered and processed through an experiential encounter with the given (aural) environment, using various fixed media recording and processing devices, both on-location and in studio. This way of interacting with the material and the use of found sound, enforces the fusion of the concepts of handmade and readymade with a nearly paradoxical sense of artisanship. Typically a large number of wide ranging, seemingly unrelated, sources have been used in the works to create a solid whole in type of a composition and process that I call many-to-one. The concepts of rhizome and glitch function as a map, illuminating the local paradigmatic axis, and can thus be used to navigate through the multiplicity of the created sonic structures.
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