2022 Solo exhibition of mixed media multisensory installations The Arts Centre Te Matatiki Toi Ora
What Might We Find When We Stop Looking? was the question navigated through passages across the colonial city of Ōtautahi Christchurch, New Zealand guided by the nonvisual senses. Using the original methodology of sensuous psychogeography, understandings and materials gathered on these often-playful pedestrian explorations were used to create interactive and overlapping multisensory installations. Made from recorded sounds, foraged wild foods, and materials gathered for their textures or distilled and blended for their aromas, the works could be heard, smelled, touched and tasted.
Initially presented as a solo exhibition at The Arts Centre Te Matatiki Toi Ora – the site from which these multiple solo and participatory walks started – the personal, social, and political understandings grounded in the nonvisual sensory connections these walks disclosed, were used to reflect and remap the city, encouraging different connections with the urban environment.
The city of this exhibition is reimagined through a series of “quarters”, circled by the ambulant city soundscape, Ōtautahi Drifting, and with the Tactile Border on one perimeter for exploration blindfolded by hand. For example, Kahikatea Quarter is an audio-olfactory meditative immersion set in the city’s only remaining podocarp forest fragment; Empty Quarter an experimental tincture of gravel from one of the many corporate carparks on the city’s bare post-earthquake sites; while the final Nurturing Quarter – made in collaboration with forager, Peter Langlands and chef, Alex Davies – invites people to gather amongst sounds of human and animal feeding to share a tonic made from introduced and indigenous plants foraged from the city.
This project was undertaken during Te Matatiki Toi Ora’s 2021 Arts Four Creative Residency Programme supported by Creative New Zealand and Stout Trust, and proudly managed by Perpetual Guardian. Scented support from Fragrifert and use of the perfume studio at Fragranzi.
What kind of knowledge is disclosed when one navigates a city with the nonvisual senses? Developing the practice of sensuous psychogeography, I explored how these senses might spark different personal, social, and political resonances over multiple passages through Ōtautahi Christchurch, New Zealand. I hoped this would reveal what could otherwise remain literally overlooked in the regular patterns of experience in our visually dominated society.
Over three months I set out on multiple sense-focused walks in which the visual was subordinated to our other senses. This reversed the usual sensorial mode used to move around the city, and was guided by non visual cues that emerged. These could be an intriguing sound far away of close at hand, following a breeze, homing in on a smell, or – as in the walk led by forager, Peter Langlands – led by the wild foods growing in the city’s streets. I called this method, sensuous psychogeography.
Sensuous psychogeography is a new method of creative enquiry, and means of encouraging people to make different, and perhaps deeper connections with their local urban spaces. This draws on the Situationist idea of psychogeography. In his Introduction to a Critique of Urban Geography, Situationist, Guy Debord, defines psychogeography is “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals,” (Debord,1955). It was concerned with the urban environment’s psychological effects, challenging the capitalist system through creating actively lived situations to counteract passive image-dominated consumer culture. Sensuous psychogeography particularly embraces the Situationists’ critical walking practice, the dérive (drifting), a playful exploration of urban space that redirects pedestrians away from well-trodden paths to alter awareness of their environments.
Sensuous psychogeography also emerged from the creative research of my recent arts PhD. In this I investigated the aesthetic and emotional dimensions of sensory interactions and how these related to place, both imagined or real. For example in my Risonanze di Vino project, I investigated how the nonvisual senses of winemakers connected them to both their product and the land their grapes were grown on.
As an artist who previously made works responding to the changing environments of Christchurch during the destructive earthquakes over a decade ago and their aftermath, I sought to re-engage with the city’s current unique phase of urban transformation after recently returning from four years overseas. The city’s recent challenges have seen its inhabitants repeatedly forced to diverge from familiar paths due to natural and human disruptions, which resonates with psychogeographical techniques.
The ongoing COVID-19 outbreak has also seen residents living much of their lives on screens, some affected by a lingering unease about re-entering urban spaces. This makes a method that encourages such sensory immersion both challenging for some, but also liberating as articulated by a number of those who participated in walks with me.
These sensory excursions took many forms. Some were undertaken alone, sometimes gathering materials en route that I would then use to create the project’s final works. These ranged from the sounds that I recorded, fragrant plants I went on to distil, as well as textural objects, and included following the nonvisual elements of the Ōtākaro Avon River from the city to its mouth at the Pacific Ocean (pictured above). I drifted with individuals from the fields of urban ecology and planning, architecture, music and foraging. I also meandered with members of the public, local iwi and the blind and low vision community.
All the discoveries made were expressed through the project’s ultimate multisensory artworks that I created. These use interactive combinations of sound, olfaction, taste, and touch to answer the central question posed by the project, “What might we find when we stop looking?”, also the name of the exhibition which runs at The Arts Centre Te Matatiki Toi Ora, Christchurch, New Zealand between 18-29 May, 2022.
This project was undertaken during Te Matatiki Toi Ora’s 2021 Arts Four Creative Residency Programme between May-July 2021. It was, supported by Creative New Zealand and Stout Trust, and proudly managed by Perpetual Guardian. Scented support from Fragrifert and Fragranzi.
In Bass Affects, Jo Burzynska invites an embodied and multisensory engagement with the emotional resonances of low frequency sound, which can be listened to, or remain unheard. Its installations stir and lull through their exploration of the nexus between the exciting and disquieting effects of the bass spectrum. Created largely from field recordings Burzynska has made in recent years of external low frequency phenomena, the sounds used are drawn from nature and human-made sources. These include the Pacific Ocean and electrical storms, to Lulworth Wind Farm, and Sydney Town Hall’s Grand Organ that possesses one of the world’s lowest pitched (8 Hz) pipes.
Low frequencies (below 200 Hz) are a much mythologised and misunderstood region of the sound spectrum. These frequencies – that are felt in the body as much as heard with the ear, and as infrasound (below 20 Hz) often on the threshold of hearing – move in mysterious ways. Bass tones are present in our body, in respiration and the beating of our hearts. In nature they emerge from the surf, and in the rumblings of seismic activity and storms. They’re emitted by machines in the industrial world. Humans actively use low frequencies in spiritual and cultural practices from bullroarers and church organs, to the beats of music we dance to. Attempts have also been made to harness them as weapons.
Yet historically, public research into the effects of low frequencies on humans remained limited. This deep void came to resonate with the repetition of findings from unreliable studies, misinformation, and far-fetched anecdotes, amplified by their regular repetition in sensationalist media coverage. Much of the purported physiological effects have now largely been disproved, with relaxation effects emerging as more likely than adverse health impacts. However, low frequency sound has become newly weaponised in attempts to discredit wind turbines, fanned by the fossil fuels industry. Such emotional manipulation and its psychological effects appear more forceful than any previous endeavours in sonic warfare.
From the sublime to the annoying, the wondrous to the threatening, context has come to direct more emotional power than the bass vibrations themselves. In Bass Affects, low frequencies from natural, devotional and industrial sources combine and converse, creating an expanded contextual spectrum that encourages a more open low frequency listening.
Jo Burzynska would like to thank Grace Kar Man Chan for making the Grand Organ roar; Malcolm Riddoch for his assistance with the recordings; and Sydney Town Hall and Lulworth Farm for providing access.
At: Audio Foundation 4 Poynton Terrace Auckland New Zealand Opens: Friday 6 August 2021, 5.30pm Hours: Tuesday – Saturday, 12 – 4pm Closes: Saturday 4 September