The Dissociative Said.
for voice and live electronics with pre-recorded voice
prescript: 12 channel piece, with live part (4d),
80” postscript : solo without electronics , 80”
This piece examines the psychological context of dissociation, drawing from the earliest compositional strategies the Baroque employed for opera, where human affects where to be expressed by a solo voice in a direct manner. Affect (Doctrine of the affections), or in German, the Affektenlehre, sought to complete a unified expression, rationalised in its strategy to evoke a feeling or sentiment for a whole piece. Dissociation, as a psychological state, splits off and compartmentalises mental processes from the main body of consciousness, and the person is unaware of its defence mechanism in doing so. It is a means to protect the self from overload of sensory stimulus. In normal conditions, the consciousness, memory, emotions, sensory awareness, affect are integrated. With disso- ciation, these traits are discretely compartmentalised to greater or less degrees. This piece, in the prescript projects various states of being, “Affects” in their total, yet compartmentalised, fullest context. The audi- ence hears all these states, but is perhaps forced to relinquish the ability to differentiate. The postcript uncovers the “iceberg” of the dissociation, and gives the listener the chance to hear moments of these states, and perhaps unconscious integration is sensed between the two parts of the piece, allowing a baroquian unified Affektenlehre to emerge for an Affekt as “dissociation”.
for Loré Lixenberg
Tamara Friebel ©2011