Toine Horvers’ semantic exercise in defining actual sound beyond poetic temptations.
As it is been told by Toine Horvers himself:
"As an artist, I work with spoken and written language in performances, drawings and books. My material consists of the results of observations of situations and processes which I see or hear occurring in reality.
On a weekday in 1999, from a fixed point inside Chartres cathedral, I made an hour long sound recording. At the time of recording, no organised religious activity was taking place. The building was being visited by tourists and groups of believers who were talking, praying and singing.
In 2013, I began to translate this universe of sounds into words and sentences, without stating the source of the sound or referring to the physical space of the cathedral.
In order to be able to approach sound as autonomous energy, I stripped my language of the styles and tools which are often used in describing sound: sound imitating words, words derived from seeing, words conveying human feelings, poetic / expressive phrases, technical sound and musical terms, similes and metaphors.
Wherever possible, I replaced words of Latin or French origins with words that I felt were more descriptive in nature.
All these restrictions and interventions were important in my attempt to come closer to the fundamental nature of both language and sound through listening and writing."
Or, as it is told by curator/editor Freek Lomme:
"Besides being the house of God, a cathedral also functions as a resonance box. The sound of a falling needle resonates a lasting bounce and seems to extend its voluminous presence, as you’re probably familiar with. But then again: how can we describe the sound within such resonance box purely?
In an attempt to report on the sound waves in this resonance box as objective as he’s equipped for, this project bundles the result of a one-hour exercise by language inspired artist Toine Horvers: capturing and registering the waves from their moment of departure to the moment fading, in between take-off and landing to our receptive sphere. By sheer focus and sharpening words he attempts to reach out for the sound and the resounding nature of both the auditory as the issued levels of this volume and to get closer to the effective state of this nature.
For only as it reaches out for the unheard and for the not quite fully pronounceable, it is that this very exercise set’s out for a deeper tonal of our intelligibility. Can we write a report within this sphere objectively? Can we get closer to the movements of these waves?"
Book launch and performance on 9/11/2013