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Ehsan Saboohi
post orientalism composer and music theorist
Post-Orientalism is a term coined by the Composer and music theorist Ehsan Saboohi to describe a music language for analyzing the aesthetics of his and his colleagues' compositions. Saboohi defines this language as follows:
"Post-Orientalism is a modern music language that uses microtonal sounds and intervals alongside altered sound chain and block structures to achieve a post-orientalism musical piece in different acoustic and electroacoustic compositions."
Ehsan Saboohi, in his third composition period, is looking for a different language of common Contemporary Classical music trends by taking inspiration from the philosophical-social ideas of the famous philosopher Edward Said (1935-2003).
- 06 Jun 2025
- On post-orientalism as a Genre by Kristoffer Cornils
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Liner note:
On post-orientalism as a Genre
by Kristoffer Cornils
Most artists hate it when the music they make is considered to be part of a certain genre, and it is easy to see why. After all, creating art is an act of deeply personal expression, or so we have been told again and again. Being lumped in with a bunch of strangers whose music shares some similarities with the ones they make thus strips artists of their individuality. Being categorised, crammed into a genre, feels like an ...
- 28 May 2025
- Post-Orientalism Anthology: Sonitus (On the Inconsistent Multiplicity of Sonitus)
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Post-Orientalism Anthology: Sonitus
(On the Inconsistent Multiplicity of Sonitus)
Liner Notes by
Ehsan Saboohi
1.
In the Latin conceptual tradition, particularly within Lucretius’s De Rerum Natura, the term Sonitus transcends mere acoustic or sensory connotation, bearing profound ontological significance tied to the notion of substantial motion (motus substantialis). Here, Sonitus is not reducible to "sound" or "noise" as understood in contemporary human experience. Far ...
- 17 Mar 2025
- Q Time Machine Statement: “Who is time?”
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Q Time Machine Statement: “Who is time?”
The present project does not address the classical question of what time is. Rather, it brings up the question: “Who is time?”
The Q Time Machine is not a technological tool; neither is it a metaphor; it is a critique of human’s transcendental view of time. Rejecting the Kantian reading of time as “a precondition for perception” and Heidegger’s reading of it as “the horizon for understanding being” or “time as Dasein’s horizon”, the present ...
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