ABSTRACT
This chapter examines the diverse perspectives and potential connections found within the creative process of a composer, performer and instrument builder’s practice. Starting from the early stages of making and building, moving to the performance, then to the reception, it ends on the inside with memory. Each section is divided into two: a diary-like subsection of impressions, then a theoretical lens to examine the stages. The first section, the instrument building and exploration moment, looks at how objects and instruments can be seen as extended limbs and co-creators by drawing on Jane Bennett’s theory in Vibrant Matter. The moment of performance is analyzed by highlighting touch, specifically the memory of touch embedded on the finger tip, drawing on Erin Manning’s Politics of Touch. The last two sections focus on the listeners by reflecting on perception and memory, and how memories are connected with objects, the role of emotions on perception and memory, and how those memories change with time, drawing on the writings of Sherry Turkle and Brian Massumi. The chapter attempts to break down traditional notions of object (sonic, musical or extra-musical) by highlighting the aliveness, interactivity and connectedness of the entire creative process.
