In conversation with multidisciplinary artist Colin Self

Ahead of their participation in Regenerative Feedback, the artist talks the ego, the future and empathy.

article-title

Can music and new media hold power to fabricate a sustainable social future? What is it that attracts us to sound and what drives us to participate in active listening? These, and many more, questions are at the core of Regenerative Feedback—the annual music, new media, sound art and philosophy symposium. Taking place at Rotterdam’s WORM this week and exploring interdisciplinary routes to an emancipatory future, the 3-day media conference and intellectual gathering will translate our desire to listen to larger societal structures through workshops, talks and experimental performances.

In anticipation of the symposium, we reached out to one of its most thrilling participants, Colin Self. The multi-disciplinary artist’s practice oscillates between sculpture, song-composition, performance and dance, and their ceaseless pull towards collaboration has birthed creations that leave a mark of unhinged honesty and queer love. Self’s latest music project, Siblings, carves out a sonic and performative path for people, to whom loving each other and living together is an inherently creative act. On the album, orchestral accompaniments co-exist with electronic compositions, and the artist’s merging of tradition and its transgression form a cyborg voice that may not have excisted before, yet demands to be heard.

At Regenerative Feedback, Self will present their XOIR workshop and will part-take in a talk with Paul Rekret Lendl Barcelos and Charissa Granger. In fashion with the artist and the symposium’s unconventional approach to music, critical reflection and the future, we ditched traditional interview formats. Instead, we caught Self on a window still somewhere in Denmark, from where they sent us a voice memo that unfolds their perspective on the ego, the future, and empathy.

Check out Regenerative Feedback’s full program here and sign up for XOIR

 

Words by Valkan Dechev

Photography by Eileen Emond and Jonathan Grassi

 

Related Articles