FUJI|||||||||||TA is a Japanese sound artist whose work is focused on the exploration of sound on the limit of what is audible; take his 2017 installation Cell, for instance, which amplifies the sound of black soldier fly maggots buried in dirt.

Sound and music in FUJI|||||||||||TA’s performances and records are approached as landscapes with the intention of uncovering different phenomena. This practice is the result of an interest in listening as a primary method for composition. Fujita immerses himself in the sonic environment around him. Therefore, the music he composes reflects the behaviour of sound and listening strategies we actively and passively engage with in everyday life.

The artist created a pipe organ in 2009 that consists of 11 pipes but no keyboard. The instrument is a product of his imagination and does not rely on prior knowledge of instrument making. The organ is a reflection of the composer’s idea of landscape, and it is inspired by the Japanese music form GAGAKU.  After releasing hibinari in 2010, FUJI|||||||||||TA developed his music practice by combining the organ with his own voice to fully explore the tonal and textural sonic qualities the two products have together.  Since 2006 he has had many solo performances and collaborative works with musicians, including ∈Ｙ∋ (Boredoms), Akio Suzuki, Keiji Haino, Koichi Makigami, Fuyuki Yamakawa and Yukio Suzuki.

FUJI|||||||||||TA’s work and aesthetic are constantly developing, and he now includes synthesised as well as environmental sound in his performances. The organ is therefore augmented as all sonic elements collide and intertwine in the production of complex sonic environments where textures interact and shift just like a living organism. This is the result of his latest release, ‘NOISEEM’, a major new work consisting of recordings of live performances in London and Tokyo. ‘NOISEEM’ is the product of half a decade of work with amplified water. FUJI|||||||||||TA created a series of water tanks with their pumps and amplification controlled by the performer. Just like the organ and his voice, water becomes a new musical instrument.

The release is a testament to FUJI|||||||||||TA’s intention to develop, change and morph his practice and sound while exploring embodied performance and instrument augmentation as spatiality as opposed to mechanical performativity. Body, objects and elements fuse in the production of space, an experience that affects the listener on a physical level. The material produced is a sonic whole that envelops the listener in a newly constructed environment.

This is an environment that can be described as mass, energy and space moving in, towards and around a listening subject that is the centre of the experience, a wholistic approach to sound practice, for it includes all senses. In fact, FUJI|||||||||||TA mentions sound as a phenomenon where there is no distinction between aural and visual; he approaches everything as a phenomenon and describes his practice as close observation and experimentation.

Η συνέχεια εδώ.