Collection Series#1

Act Of Evidence

Hypothesis of the sonic safe space

The 3 artists has all been invited to interpret the concept of safe space in sound or even in music depending on definition. The end result will be 3 albums released digitally.

The 3 musicians/composers are:

  • Anna Mose (DK): Processed Voice
  • Tomas Raae (DK): Ambient Production
  • Niklas Antonson (SE): Piano

The title of the Collection Series #1, Act Of Evidence, are relating to the act of acousmatic listening – in headphones or at home on the speakers – and are based on two hypothesis:

The first hypothesis is that music can establish a sensation of safety and the sensation of being understood. In a situation where music is not programming the listener in terms of mood and feelings, but leaves the individual emotional respons to the listener.

And further this hypothesis suggests that specific sonic expressions contains the possibility of emotional negotiation. The music is not programming us how to feel, but has a sonic design that leaves us in position where – whatever feelings we have – we can be supported by the music – weather being happy, sad, indifferent or whatever.

So, the question is – if we don’t want to be programmed by the music we listen to; why not prefer silence?

The second hypothesis is that a sonic environment that supports safety and the concept of negotiable emotional states partly has to do with an expression – sounds – that places us as being part of something and be being recognized. Recognized as humans, as being part of a culture, a history, a tradition. Recognizing sounds to which we hold specific connotations.

In this line of thought the establishment of a sounding safe space are pointing towards two components:

  1. The possibility of controlling our own feelings and moods and feel the sensation of sound supporting whatever feelings we have.
  2. The sound is recognizable in sound, style and historical connection artistic ambition

So the main hypothesis is that listening to music can be an act of evidence for the listener. Evidence for us being human, being part of history and tradition, connected to another human trying to support our feelings. And evidence for the acceptance of our feelings and emotions.

The Future

But the future plan is to scale the concept to a hole line of albums.

Additional reading:

Mossberg, Frans [red] (2008): Sound, mind and emotion – research and aspects. Sound Environment Center at Lund university

Paresky, Pamela B. (2015): How Making Colleges ‘Safe Spaces’ Makes Us All Less Safe. [visited 02.10.19]

Leeuwen, Neil Van (2015): TWO CONCEPTS OF SAFE SPACE. [visited 02.10.19]

Sørensen, Asbjørn Mølgaard (2019): Studie: Musik dæmper angst på linje med beroligende medicin. [visited 02.10.19]