Deconstructing Sound: The Philosophy Behind “Atomised Listening”

Cousins’ work is deeply rooted in the theoretical framework of Theodor Adorno, specifically his concept of “atomized listening.” Adorno posited that modern music often presents fragmented, disconnected moments rather than a cohesive, unified composition. Cousins translates this idea into a tangible experience, using individual tape loops as the “atoms” of sound. “Atomised Listening is the idea of music being seemingly disconnected moments rather than a unified composition,” Cousins explains. “Using tape machines, I wanted to create a multi-channel, asynchronous work along these lines that is participatory.”

The installation isn’t simply about playing pre-recorded sounds; it’s about empowering the audience to manipulate and remix those sounds in real-time. Listeners interact with a mixing desk, altering the balance and arrangement of the tape loops, effectively composing their own unique version of the piece. Each interaction reshapes the composition, ensuring that no two experiences are ever identical. This dynamic element challenges traditional notions of musical authorship and performance.

The Allure of Obsolete Technology

Cousins’ artistic practice is characterized by a fascination with the limitations and imperfections of older technologies. He doesn’t seek to overcome these limitations but rather to embrace them as integral components of the creative process. “1/4” tape has a certain character, and often contains imperfections that I’m interested in highlighting,” he notes. “It’s inspiring to hear a recording format’s influence on a composition, and I enjoy leaning into the limitations of tape rather than searching for subjective perfection.”

This approach speaks to a broader trend in contemporary art, where artists are re-evaluating the value of analog technologies in a digital age. The inherent warmth, noise, and unpredictability of tape offer a compelling counterpoint to the sterile precision of digital audio. But why this renewed interest in technologies often considered obsolete? Perhaps it’s a desire for authenticity, a rejection of the hyper-polished aesthetic of modern production, or simply an appreciation for the unique sonic textures that these machines can produce. What role do you think obsolete technologies will play in the future of music creation?

Technical Specifications and the Creation of “Atomised Listening”

The realization of Atomised Listening was a significant undertaking, requiring a substantial collection of vintage equipment. The installation, recorded at The Cause in London, utilized five Akai reel-to-reel machines from the 1960s and ‘70s, a Roland Space Echo RE-201, and a TEAC M-30 mixing desk. Cousins emphasizes the logistical challenges involved in sourcing and maintaining these machines. “I needed five to create this installation, plus another five as backup,” he explains. “Finding and servicing the machines was quite a long process.”

The choice of equipment wasn’t arbitrary. Each machine contributes a distinct sonic character to the installation, adding layers of texture and complexity. The Roland Space Echo, renowned for its lush reverb and delay effects, provides a sense of spaciousness and atmosphere, while the Akai reel-to-reel machines offer a raw, unfiltered sound. The combination of these elements creates a rich and immersive sonic environment.

Beyond the technical aspects, Cousins’ work also highlights the importance of space and environment in shaping the listening experience. The Cause, a renowned London venue known for its intimate atmosphere and commitment to underground music, provided the ideal setting for Atomised Listening. How does the physical space of a performance venue influence your own experience of music?

Explore more of Paul Cousins’ work on his official website and follow him on Instagram. His debut album, Vanishing Artefacts, is available on Bandcamp.

Credits: Written & Produced by Paul Cousins; Directed by Ed Harber; Thanks to Oscar Coakley & Bruce, and Stuart Glen at The Cause.

Frequently Asked Questions About “Atomised Listening”

• What is “atomised listening” as a concept? “Atomised listening” refers to the experience of music as a series of disconnected moments, rather than a unified whole, a concept originating with Theodor Adorno.
• How does Paul Cousins utilize tape machines in his work? Paul Cousins uses vintage reel-to-reel tape machines to loop and reshape electronic productions, embracing the inherent imperfections and limitations of the technology.
• What role does the audience play in “Atomised Listening”? The audience actively participates in the performance by manipulating the tape loops via a mixing desk, effectively becoming co-creators of the composition.
• Why is obsolete technology important to Paul Cousins’ artistic process? Cousins believes that the limitations of older technologies can inspire creativity and offer unique sonic textures that are absent in digital audio.
• Where was “Atomised Listening” originally recorded? Atomised Listening was recorded at The Cause in London, utilizing a collection of vintage reel-to-reel machines and effects.
• What kind of tape machines did Paul Cousins use for this installation? Cousins used five Akai reel-to-reel machines from the 1960s and ‘70s, a Roland Space Echo RE-201, and a TEAC M-30 mixing desk.