The piece deals with human sounds, spoken language and its emotional charge, and with a subjective sound environment, in a way of internal sound ecology. Conceptual Act Theory suggests that language plays a role in emotion because language supports the conceptual knowledge used to make meaning of sensations from the body and the world in a given context. The viewpoints I built on consider the language a basis for music and the music as the language of emotions. Human musical ability is proposed to play a key phylogenetic role in the evolution of language, and the similarity of hierarchical structure in music and language has led to considerable speculation about their shared mechanisms. In order to understand our own emotions hidden in our speech, I consider animals sounds as inspirational source in a search for the essence of human sound.
I interviewed people about the issues connected to the topic of reproduction. Recordings of our talks were meditating over topics such as choice of giving birth, parenthood, family trauma, abortion, or transhumanism, and served as the source material for manipulating the speech into abstract sonic grains, by destilation of its emotional essence in the process called sound granulation. The long interviews on the emotionally loaded topics revealed personal opinions and relations to the issues. In series of improvisations I was granulating the parts of the speech, searching within grains for hidden meanings, as they were coming forward. This process created samples, later used in the final composition as vocals. The instrumental part is composed in a similar way, documenting the urge to create music as the soundtrack of the psychical state. Recorded improvisations on hardware synthesizers are the source material to form the timeline of the composition. I approach sound as therapeutical personal tool, which allows me to translate internal feelings into the abstract message, open to audience interpretation. I have few intentions within the structure of the composition, for example using low frequencies of the percussions in 4 channel set up to "lock" the body into the trance by repetitive and ritualistic drumming. Sounds in mids keep the narratives, highs will set the mind free to float over the transposed feelings. This take on dispersing inner stress and excessive emotions comes from personal experience as a dancer and also from the practice of various forms of exercises, such as taichi or tensegrity. It is known that dance and singing releases hormones which makes us feel good, and I also believe that evoking the traumatic experiences, by bringing them vividly into the center of our attention, while physically working on "vibrating" this energy into embodied harmonized state of being, actually dissolves old traumas. Inspired by the effects proven in buddhistic chanting, I named this creations "vibrational mantras".
Audiovisual artist, experimental musician, performer, concept writer, event manager and coordinator, resident in Berlin. As Akkamiau she has performed audiovisual shows since 2006. She has been coordinator of female: pressure network and festival Perspectives Berlin (2013, 2015), multimedia festival Multiplace (2008, 2009), produced and art directed projects L to the B (2010) and Zbrojovka site-specific (2011). In 2012 she co-founded multimedia collective StratoFyzika, for which she created sound compositions inspired by metaphysics (2012-2019). Recently performs live experimental techno set as hiT͟Hərˈto͞o, with releases on female:pressure, Decadence recordings, SPRINGSTOFF and Establishment records. Akkamiau hosted radio shows at Colaboradio (Frei Radio Berlin) and Cashmere radio; she is a booker for Circle x female:pressure at Suicide Circus, and regularly DJs on local techno events with focus on the emotional power of sound frequencies, presenting delicate mixture of experimental and dance music.