“No ideas but in things.” I am sitting in a room, by Alvin Lucier, as a material-affective device and vibratory assembly between human and non-human agencies
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This article proposes an analysis of I am sitting in a room (1970), one of the best known works by composer Alvin Lucier (1931-2021), from the perspective offered by some of the new currents of materialistic thinking, the doctrine of affects and agential realism. First, the uniqueness of the composer’s work will be presented, highlighting the importance of its material-affective dimension and examining the meaning of Lucier’s maxim “no ideas but in things”. The concepts of assemblage (Jane Bennett) and intra-action (Karen Barad) will be reviewed and placed in relation with some contributions made from the field of sound and voice studies to the discussion around vibration. After explaining the operation of I am sitting in a room in detail, Lucier’s piece will be understood as a form of “entanglement” (Barad) resulting from the vibratory intrarelationship between the effects of the various actors, human and non-human, who participate in the work. Finally, taking into account the performative capabilities that Karen Barad attributes to scientific apparatuses and their role in the production of phenomena, it will be concluded that I am sitting in a room can be understood as a multi-agential and transontological apparatus that affirms the interdependence between materiality and discursivity and reverses the phenomenological experience, pointing at other possible ways to feel, say and inhabit the world.
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(c) Arnau Horta, 2023
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Arnau Horta, Autonomous University of Barcelona. Philosophy Department
Commissary, critic, researcher and teacher. In both his curatorial activity and his work in the field of research and teaching, he primarily deals with sound and listening in their phenomenological and political dimension. He is currently doing his doctorate in Philosophy at the Autonomous University of Barcelona. He has collaborated with the Reina Sofía National Museum of Art (MNCARS), the Barcelona Museum of Contemporary Art (MACBA), the Barcelona Centre for Contemporary Culture (CCCB), the Joan Miró Foundation, the Picasso Museum of Barcelona or the Max Planck Institute (Berlin), as well as the Loop video art festival, Bòlit; as well as with the Girona Contemporary Art Centre, Sónar or Eufònic, among other centres, festivals and cultural initiatives. In 2020, he received the GAC award for the Best Commissioner of the Year for the exhibition “¿Arte Sonoro?”, presented at the Joan Miró Foundation and sponsored by the BBVA Foundation. As a professor, he has collaborated with universities and educational centres such as Virginia Tech, the European Institute di Design (IED), Elisava, Barcelona University School of Design and Engineering, the Barcelona Institute of Humanities or ESDi (High School of Design). He is a contributor to the newspaper’s cultural supplements Cultura/s (La Vanguardia), Babelia (El País) and Núvol, where he writes about contemporary art, thought and culture.
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