The Author's Note
I am sincerely grateful for the trust and support of my students at the University of Science and Culture and the University of Applied Science and Technology, where I have had the opportunity to teach in the Departments of Dramatic Literature and Performing Arts. Their encouragement has been crucial in the creation of my work.
Album Title
Politics-Aesthetics No. V:
Sonus Autonomy II
by Ehsan Saboohi
Link:
https://ehsansaboohi.bandcamp.com/album/politics-aesthetics-no-v-sonus-autonomy-ii
The Author's Note
I am sincerely grateful for the trust and support of my students at the University of Science and Culture and the University of Applied Science and Technology, where I have had the opportunity to teach in the Departments of Dramatic Literature and Performing Arts. Their encouragement has been crucial in the creation of my
work.Ehsan SaboohiJanuary 2, 2025Contents
1. Light
2. Stage
3. Performers
4. Performance Instructions
5. Performance Details
Light
1. The light remains dim and steady throughout the performance.
2. At the end of the performance, after all phone calls are disconnected and the microphones and speakers are turned off, the light gradually fades out, darkening the stage completely within one minute.
Stage
1. The “Director-Composer” is responsible for designing the number and arrangement of speakers and microphones before each performance. The number of speakers and microphones can vary for each performance.
It is essential to note that “Self-Sounds” refer to feedback sounds produced autonomously, without direct human intervention.
2. Two chairs are placed on stage, with their legs insulated with soundproof material.
Performers
1. The performance involves two performers.
2. The performers’ gender, height, name, nationality, and language are irrelevant.
3. Performers must ensure that their mobile phones are set to silent mode.
4. Performers must enter the stage barefoot.
5. Each performer must carry at least one mobile phone (additional phones are optional).
Performance Instructions
1. Before the performers enter, all digital devices on stage (speakers, microphones, mixers) must remain turned off.
2. A dim light gradually illuminates the stage and remains steady (as described in the Light section).
3. Performers enter the stage slowly.
4. Each performer enters from a different location, based on their choice.
5. As the performers enter, all digital devices (microphones, speakers, and mixers) are turned on.
6. One performer initiates a call to the other performer using any preferred communication software.
7. The call must be made through digital communication platforms.
8. The second performer answers the call, mutes the audio, and places their phone on a speaker.
9. The first performer also places their phone on a speaker.
10. Performers must remain silent throughout the performance.
11. Performers are allowed to move freely during the performance, provided their movements produce no sound.
12. Performers may create “Self-Sounds” by moving or stabilizing their phones (placed on speakers) anywhere on stage (near microphones, speakers, or close to each other).
13. Performers must not exhibit any deliberate reaction to the “Self-Sounds.”
14. If multiple phones are used, performers may choose to end calls with one another at their discretion.
15. At the end of the performance, the performers sit on their respective chairs and disconnect all phone calls.
16. The performance concludes when all phone calls are disconnected, and the “Self-Sounds” completely cease.
End.
5. Performance Details
Duration: Approximately 20 to 30 minutes.
A
u
tonomy of Sound in "Self-Sounds":
In this context, "Self-Sounds" refers to sounds that are generated autonomously from nothing, as a result of frequency interference and feedback, without any human intervention or shaping.
Politics-Aesthetics No. V: Sonus Autonomy II:
Written in early 2024, Sonus Autonomy II was first performed by the Nik Masoo Trio in an outdoor venue in a village near Tehran later that year.
In early 2025, two live performances of the piece were released by the Post-Orientalism Label as part of a collection.
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Politics-Aesthetics Discography
The Politics-Aesthetics series includes the following five albums:
1. Politics-Aesthetics No. I: Politics-Aesthetics
www.ehsansaboohi.bandcamp.com/album/politics-aesthetics-i-politics-aesthetics
2. Politics-Aesthetics No. II: Beckett's Quad Variations
www.ehsansaboohi.bandcamp.com/album/politics-aesthetics-ii-becketts-quad-variations
3. Politics-Aesthetics No. III: Twenty-Four by Twenty-Four
www.ehsansaboohi.bandcamp.com/album/politics-aesthetics-iii-twenty-four-by-twenty-four
4. Politics-Aesthetics No. IV: The Plays I
https://ehsansaboohi.bandcamp.com/album/nik-masoo-the-plays-of-ehsan-saboohi
5. Politics-Aesthetics No. IV: The Plays II
www.ehsansaboohi.bandcamp.com/album/hubert-heathertoes-the-plays-of-ehsan-saboohi
6. Politics-Aesthetics No. V: Sonus Autonomy I
www.ehsansaboohi.bandcamp.com/album/politics-aesthetics-no-v-sonus-autonomy-i
7. Politics-Aesthetics No. V: Sonus Autonomy II
https://ehsansaboohi.bandcamp.com/album/politics-aesthetics-no-v-sonus-autonomy-ii
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Attention: This release includes a high-quality PDF featuring the album cover, a 20-page HD booklet designed by our graphic team, and the accompanying sheet music.
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Album Credits
Ehsan Saboohi – Playwright and Performance Designer
Lena Koucheri, Ehsan Saboohi – Performers
Nik Masoo – Artificial Intelligence Programmer
Post-Orientalism Community – Cover Art
Ali Balighi – Mastering Engineer
Soheil Soheili – Coordinator
Ehsan Saboohi – Producer
Post Orientalism Label – Publisher
Publication – 2025, Berlin/Tehran
Catalog Number: PO. 049