Jessica Ekomane’s relationship with sound, within the scope of her artistic work, began by centering on installation projects. Her reflection and practice in that field led her to another field, with stronger foundations in processes and a relationship with circular tiem, as opposed to linear temporal notions, commanded by the chronological tick-tock, or the horizontal trajectories in timelines. Naturally, she became inclined to the exploration of digital software, such as Max/Msp, which are provided as instruments for a more vertical approach to musical creation.
The musical piece she presents here, is the result of the exploration of the nuPg software, an update of Pulsargenerator created by Curtis Roads and Alberto de Campo dedicated to pulse synthesis, a branch of digital sonic synthesis generated from abstract concepts, and therefore, distant from the mechanical and acoustic principles of sound production. Starting from micro-sounds (at the limit, or beyond, human auditory perception) this synthesis process takes the pulse as the unitary element it then, from it, create fluxes of sonic microparticles which operate and interact in different spatial-temporal scales, thus concurring in the formation of timbers, rhythms and tonalities.
To the molecularity and autonomy of the processes is allied the independence of the sounds in each stereo channel, which we can typically find in Ekomane’s recorded work, highlighting the illusory character of a progression that is produced from static situations, stressing the perceptive distortions and extensions which form qualities and sensations.
We can also intuit from Ekomane’s clear interest in the paradoxical dichotomy and interdependence between melody and noise, the motivation for the exploration of the contrast between the aridness of abstraction inherent to the software system, and the affection or expectations regarding what can be names as music, within a specific social and cultural field such as her own, as an individual, and simultaneously collective as it pertains to sharing possibilities. It is in this limbo that we find her sensibility, the impetus to seek more tonal galaxies in the granular synthetic universe, the differential that ionizes the plasma that suspends us in the listening of this music.
by Pedro Rocha
Jessica Ekomane is a French-born and Berlin-based electronic musician and sound artist. Her practice unfolds around live performances and installations. Her quadraphonic performances, characterized by their physical affect, seek a cathartic effect through the interplay of psychoacoustics, the perception of rhythmic structures and the interchange of noise and melody. Her ever-changing and immersive sonic landscapes are grounded in questions such as the relationship between individual perception and collective dynamics or the investigation of listening expectations and their societal roots.