Florian Hecker


3 JUN · 18H30 · Florian Hecker
Analysis, Resynthesis, Synopsis

Moderator · Diogo Tudela

This session features a range of projects embracing a practical and theoretical engagement with Analysis and Resynthesis: concepts stemming from research in audiology, psychoacoustics, and signal processing. These will be examined as tools, creating a ‘subject,’ a protagonist of the works presented here. Synthetic sound is a sensuous yet highly formulated matter that escapes linguistic description, and that affords, through its encounter, potential repercussions on other material forms.

I consider synthetic sound as an Immaterial, a new material permanently ‘in the making,’ referring directly to a problematic staged by design theorist Thierry Chaput and philosopher Jean-François Lyotard in the exhibition Les Immatériaux at the Centre Pompidou, Paris, 1985. While Les Immatériaux did not address sonic matter per se, it proposed, as central questions, the problems of translation and representation of the unrepresentable, the synthesis of materials, and the semantic reconstruction of perceptual objects.

Florian Hecker is an artist whose projects include electroacoustic sound works and multi-sensory installations and performances. His work has been released on labels including Editions Mego, Pan, Rephlex, Tochnit Aleph and Warner Classics, and he has collaborated on projects with Cerith Wyn Evans, Aphex Twin, Russell Haswell, Mark Leckey, and Reza Negarestani. Hecker’s artistic practice explores avant-garde trajectories of modernity in performance art, installation and psychoacoustics. Recent projects include major solo exhibitions and performances that stage shifting notions of timbre, sound as an Immaterial, and objective-physical stimuli with their psychological and physical impact. Key to this field is the unresolved nature of our’ objects of hearing’. Here Hecker’s research considers new aspects of timbre related to machine listening, their measurement and cultural significance. In line with the history of the quantification of sensation, since the late 19th-century timbre that is described by what the Canadian psychologists Albert Bregman and Steve McAdams have phrased as a ‘multidimensional waste-basket category’ for everything intractable to analysis.