autotelica is a site responsive audio installation, created for an exhibition examining the future of writing in Fringe Arts Bath, UK, 2013.  It was installed in two locations within an exhibition building, a lighter version entitled autotelica overture sited on an airy stairwell linking two floors, and the darker version, available here, which was situated in a narrow corridor leading to a blacked-out exhibition space containing an exhibit using a pool of water to reflect light.

This work is a development of an earlier, shorter, Autotelica created for and published on cd with the journal Patricide (No 4); The Sound of Surrealism, ed Neil Coombs in 2011.  The original work is one of Leona’s contributions to Audio Corpse, a co-creative audio game in which 25 contributors responded sonically to the notion of The Sound of Surrealism, and is a remix using many contributions from other sound artists who took part.

'With regard to language, nothing has captivated, and still captivates, surrealist poets so much as [the] property words have to link together into singular chains and thus to shine forth at the very moment when one is least trying to find them.  What they have tried to do, more than anything else, is to bring these chains out of the dark places where they form into full daylight.  And what has captured their attention about these verbal combinations, what has convinced them that they should not be altered in any way, even when they seemed either to have no meaning – no immediate meaning, that is – or to do violence to meaning, thus causing the average reader great alarm, is that their structure had the compelling character of a musical progression...  In this respect, it is the direct opposite of the expression of controlled thought that has kept no organic link with music and uses it only occasionally as a luxury.'                        (André Breton)

autotelica

Original cue: "The name Karlheinz Stockhausen may not be instantly familiar to everyone, but this pioneering German composer has been credited with 'literally changing the sound of music and the way we listen to it' - a fact clearly recognised by The Beatles, who were one of the first to adopt his experimental techniques and included his image among the great and the good on the cover of their Sgt Pepper LP. 

The frequently controversial composer amassed a remarkable body of work in his lifetime, much of it produced in Cologne, where his pioneering use of the recording studio inspired generations of musicians to discover new sound worlds of their own. It could well be argued that there isn't a single corner of contemporary music where his influence can't be detected.

Next month marks the tenth anniversary of his death, yet as a recent sold-out performance at London's Barbican demonstrated, his music has lost none of its ability to delight, inspire and confound. And it was a special occasion indeed, as two of Stockhausen's close confidents came together one last time to perform 'Stimmung', a work that still sounds like nothing else, almost fifty years later..."

Stockhausen At The Barbican - Report for BBC Radio 4 - 08.12.17

Leona works with words, her own and found recordings, and utilises spaces both personal and public  &#13;
Definitions are questioned &#13;
Unnoticed boundaries highlighted and crossed&#13;
Repetitions and assumptions becoming jumping off points&#13;
Allowing trajectories away from print and page into installation / audio / digital / performance and visual arts&#13;
Practice and theory meld(mould)ing space physicality locationcontext to fire words with new meaning&#13;
Fluidity not fixing&#13;
It's all about happening&#13;
It’s all about WordsSoundsSpaces&#13;


autotelica

WordsSoundsSpaces

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