Martin (b. 1981) is a British artist with an interest in sound and language and their relationship to listening and meaning. His practice centres around experimental composition and improvisation but is demarcated by a wider and more nebulous border, and is defined by the search for it. There is an economy to much of his work, which is often contingent upon reciprocity.
He is researching relationships between auditory and visual perception and new ways of employing the primary devices with which we write music. His compositions have been performed by musicians from around the world while his work has been shown at The Barbican Centre, Modern Art Oxford and Arnolfini, and used by Tate and BBC. He lives and works in Japan.
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Listening entails an unbiased correspondence with sound. If we find ourselves compelled to record what we hear various tools are at our disposal. These often harness the visual to project the abstract of the sonic. Distortion and error may be inherent to the process, but approximation can create interesting spaces between the actual and the abstracted. Delineating subjective experiences is further complicated when we factor in tinnitus, a phenomenon that is by its definition singularly private. Tinnitus frustrates the figure ground relationship of listening by placing your corporeal self at a further degree of remove. One may become undifferentiated with the ground. It naturally leads to questions regarding the nature of listening, of perception, of existence and ultimately of consciousness itself.
"And what do I point to by the inner activity of listening?"