The per­for­mance is based on sound check sit­u­a­tions and rehearsals of Berber-Amazigh music record­ed by Gilles Aubry in Moroc­co. Using his micro­phone as a sound pro­cess­ing device Aubry trans­forms fur­ther his field record­ings through per­for­ma­tive feed­back tech­niques. The result is an abstract son­ic explo­ration of tra­di­tion­al instru­ments, rhythms and spaces. It also fea­tures a poet­ic text in Amazigh lan­guage by Farid Zal­houd, “Trib­ute to the Ear”, com­mis­sioned espe­cial­ly for the project.

Aubry’s prac­tice is based on a per­for­ma­tive approach to field record­ing, doc­u­ments and his­tor­i­cal sources, often in col­lab­o­ra­tion with oth­er dis­ci­plines. He crit­i­cal­ly address­es lis­ten­ing, sound prac­tices, music, tech­nol­o­gy and envi­ron­men­tal voic­es, exam­in­ing their rela­tions to pow­er struc­tures and ide­olo­gies in var­i­ous contexts.