Cage’s influence as a proponent of active listening beyond the predictable performance frame, as embodied in 4’33’’, is of course a source of inspiration. Together with the notion of sounding as a both verb, as a noun synonymous with “event”, and an opportunity for a more complex and inclusive sonorous experience. In the same way as the title of this composition spells out it own compositional method, so the actual sound piece integrates a sense of counterpoint that aims at calm unpredictability. This means finding the right kind of simultaneity and dissonance between its different composing elements – manipulated sound samples, synthetized instruments – in order to create the right kind of internal tension. Beyond this note, not much to add but to let the composition sound by itself.

Eduardo Abrantes (b. 1979 in Lisbon, Portugal) is an artistic researcher, sound artist and filmmaker involved with phenomenology of sound, site-specific performative strategies and exploration of embodiment in relation to creative practices.
Currently based in Copenhagen, Denmark, his recent practice has focused on the exploration of the dynamic crossing between sound and embodiment, mostly in the context of how everyday experience is enacted and brought into a heightened awareness through performative practice and strategies. Apart from his own self- directed work, he has been collaborating extensively as a freelance video- documentarist and field-recorder under the moniker “pairsofthree” – the story behind the name has to do with sheep and Iceland, he will tell it on demand.