CREDITS Concepts, compositions and recordings: David HelbichScores, Text and Photos: David Helbich

Illustrations and Design: Miriam Hempel | daretoknow.co.uk

Production: Beursschouwburg, Brussels

Thanks: Festival van Vlaanderen Kortrijk, Resonance- European network for sound art, Ant Hampton, Christophe Meierhans, Boris Baltschun and © openstreetmap.org

Printed on Fedrigoni Materica and Munken Lynx Rough

Printed by Graphius Group

Published: 2015

CONTENTSIntro 4Practical and other notes 6

HEAD -&- PHONES 8GO IN 10KEY NOTES 14FROM SCRATCH 15GOOD-BYE 16

BODY -&- BUILDINGS 20WALL SEX 22TRIPPING 25TANZ DEM KOMMERZ 26

FIELD -&- RECORDINGS 28THE GARDEN 30SWEET SUITE 33INTEGRATION IS AN ACT 35

BONUS -&- TRACKS 36HOLODECK, PLEASE 38BEAT IT 40RUB IT 42

Locations 44 Maps 46

4

BRUS

SELS

TR

ACKS

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5BRUSSELS TRACKS is a collection of audio-guide and score-pieces for open headphones, mp3-player, a book, hands, ears and you, the audience-who-is-the-performer-who-is-the-audience. The pieces are independent from each other. You can do them individually and in any order you like. Still, BRUSSELS TRACKS as a whole offers a meta-perspective, showing a complex manifestation of audio-guidance. BRUSSELS TRACKS approaches listening as a performative act. In a mix of auto-performative actions and contemplations the potential of audio guides - their technology as well as their social connotations - is channelled into various set-ups, some of which are full-on headphone-pieces, and others not at all.

For an interview about the concepts behind this work: resonancenetwork.wordpress.com/2013/05/11/playing-with-your-ears

6Practical notes:

All tracks and scores are also available for download from: davidhelbich.blogspot.be/2015/01/brussels-tracks.html

The environmental sounds are meant to blend with the sound material of the audio-guide itself. Therefore I suggest the use of so-called ‘open’ headphones. Some tracks don’t need headphones at all.

The map provided shows the intended locations for the tracks and scores. But since the pieces are as much tailored to a specific place as they are generic, you can easily substitute most of them for other, similar situations in any city.

If you take pictures while performing the scores, it would be great if you could share these with me.

Email: davidhelbich@gmail.com

Other notes:

BRUSSELS TRACKS was initiated in the context of the Resonance, the European network for sound art. Other versions of these pieces have been made for Kortrijk (BE), Maastricht (NL), Bergen (NO) and Riga (LV). The next version will be made for Brooklyn (US).

Some tracks are using extracts of my earpieces NO-MUSIC.

TANZ DEM KOMMERZ uses a part of my series of small choreographies LINE-UP .

On page 9 and 17 you can see my work WhAT PEOPLE SAy on the facade of the Beurschouwbourg, Brussels.

7

WARM-UP•

Pull your ears: down to the side up

•Look at your left ear

•Clear your ears

(like on an airplane)

• Point at your

right ear both ears left ear

•Imagine a third ear on your forehead

•

8

HEAD - & -

PHONES

GO IN

8

9

GOOD-BYE

FROM SCRATCH

KEY NOTES

9

10

GO IN On the stairs of the Bourse/Beurs building (the old stockmarket)

Notes: Perform these scores, standing on the steps of the Beurs/Bourse building, looking at the building, with the street behind you.

You don’t need to wear headphones for this track. Later, you will need both hands free. It’s very simple. It might be best to memorize these parts before performing them.

head from above

direction of listening

fluently

explanation of signs:

hands

turn

fermata = keep for a while

11

• Listen to the left.

• Turn your head very slowly to the right and keep listening to the left. (You are now listening to the entrance of the building.)

• Keep listening to the front while you slowly turn your head all the way to the left. (You are now listening to your right.)

• Turn your head all the way to the right again and keep listening to the right. (You are now listening to the back, where the street is.)

• Turn your head to the front but keep listening to your back.

• To the back.

• To the space above your head.

• To the front again.

Without moving your head, listen to the:

• Left.

• Right.

Directional Listening

12

egocentric listening

• Turn on the spot, 90˚ to the right. Then repeat head turn.

• Turn another 90˚ and repeat head turn.

• And another 90 .̊ Repeat head turn.

• Turn back to the starting position.

• Hold your hands 10cm away from your ears, palms facing inwards at the sides of your head. Keep your fingers straight, touching each other, then:

• Keeping your body still, slowly turn your head to the right, 90˚ and back again. Keep your hands where they are.

13

sub-listening

• Bring hands slowly closer to your ears; slow down as you get closer until you cover your ears with your palms.

• Press your hands against your ears with increasing pressure. Hold the pressure for a while.

• Notice the complex bass sounds.

20sec relax

• Release the pressure slowly without removing your hands.

• Slowly move your hands back to the starting position.

• Repeat twice, then relax.

14

KEY NOTES

• Hold the headphones in front of you.

• Play track KEY NOTES

• Let the arm swing hori-zontally, all the way to the right and to the left.

• Turn your head, alternatively against and along the movement of your arm.

• Walk to the next location holding the headphones like a handbag with the track still running.

• Swing it a bit. It’s a beautiful day.

alienated listening

In front of main entrance of the church Notre-Dame du Finistère/Onze-Lieve-Vrouw van Finisterrae in the Rue Neuve/Nieuwestraat

15

Can be anywhere. Suggestion: while walking down the Boulevard Adolphe Maxlaan

FROM SCRATCH

substantial listening

• Put the headphones on in slow motion.

• Play track FROM SCRATCH (6 min).

• While walking, rub, scratch and tap on all elements of the headphones in order to imitate what you hear.

16

GOOD-BYE

• Lay headphones on the ground in front of you and stare at them for a bit.

• Play track GOOD-BYE.

In front of the Beursschouwburg, on a spot visible from the Café Or, situated on the other side of the street

on a leash

17

• Slowly hunker down and caress the headphones.

18

• When you hear a phone ringing let it ring 3 x, then pick up the headphones, get up and put them on as depicted: left speaker onto your forehead, right one on the back of your head.

• Count to 10, then look briefly towards the OR Espresso Bar situated on the other side of the street.

on phone

19

• After you are shot take the headphones off and go home.

on your way

20

BODY - & -

BUILDINGS

WALL SEX

20

21

TRIPPING

TANz DEM KOMMERz

21

22

WALL SEX

• Headphones are half on: the ear directed away from the wall is covered with the earpiece, the other ear has the earpiece placed behind it and is directed towards the wall. No track is playing!

• Lightly touch the wall with one finger.

Rue des Halles/Hallenstraat, walking down the side of the bus station towards Rue de l’Évêque/Bischopstraat

seduction

• Walk very closely along the wall, in a slow and careful manner, keeping one finger on the wall, all the way until you reach the corner of the street.

• Listen to the acoustic changes.

• Wash your hands.

23

• Check your headphones are positioned correctly, left-right. Take them off your head and place them around your neck.

• Play track FOREPLAY.

foreplayRue de l’Éveque/Bischopstraat, left side of the street from Boulevard Ansbachlaan towards Place de la Monnaie/Muntplein

• Walk with the wall close to your left ear.

• Walk once around the building like this until the bus stop on the other side.

WALL SEX

24

• When the sound gets consistent (after 2:20), run your hands lightly along the wall, making soft and irregular curves and turns.

• Progressively slow down the movement until your hands discover each and every detail of the wall’s surface.

• Listen to track SEX.

• Touch the wall with both hands at different heights.

• Put pressure on the wall, keep it for 20 seconds, then release the pressure. Follow the recording for the timing.

• Repeat putting pressure, following the recording. Take always two new spots, and follow the slow increase in speed.

Place de Broukére/Broukéreplein at the Dexia/Coca Cola building

sex

WALL SEX

25

TRIPPING

• Hang the headphones around your neck.

• Push yourself into one of the pillars with your back to the pillar.

• Play track TRIPPING.

• Listen and follow the instructions.

• In case the street noise is too loud to hear the voice on the recording, read the text on page 48 out loud and follow its instructions.

Note: This track is a reflection on Bruce Nauman’s notion of how a physical relation to a building can turn into an erotic experience.

If this seems to make sense to you, interrupt this exercise immediately and proceed with the next track. Never speak to anyone about this.

The recorded text is loosely inspired by Bruce Nauman’s text ‘Body Pressure’ from 1974 and the concept of ‘Body Configurations’, by Vali Export.

21

In the pillars in front of the post office and the bank building

26

TANz DEM KOMMERz

• Squat down and slowly shake your head.

• Now hold hands in front of your ears, keeping your fingers straight, palms facing towards the back.

• Whilst getting up, very slowly take your hands away from your head.

• Stand in front of the hallway, facing C&A for 2.5 minutes.

• Hum a soft, low tone as if you were mumbling something.

Rue Neuve/Nieuwestraat, in front of the passage du Nord/Noord Doorgang (facing C&A)

backstage curtain

27

four seasons

• Perform the above positions at a slow pace.

• Hold each position for a while.

• Listen and watch.

explanation of signs: viewing direction

body

facing C&A

looking towards the left

looking towards the right whilst turned 90˚

fluently

turn this way

28

FIELD - & -

RECORDINGS

THE GARDEN

28

29

SWEET SUITE

INTEGRATION IS AN ACT

29

30

THE GARDEN

NOte: THE GARDEN blends Louis XIV’s instructions on how to walk through his Versailles gardens with the Situationist concept of walking through places with wrong maps.

On the 10th floor of the Parking 58, entrance Rue de l’Éveque/Bischopstraat Lievevrouwenstraat

31

entrée pan in

• Enter the building of parking 58. If you catch the look of the guard, greet him shortly. Take the first elevator to the 10th floor.

• Stand at the starting point (nr 8 on page 47) and have a look at the parking lot. Imagine the site to beautiful.

• Look slowly from the left to the right as in a slow camera pan.

• Play track THE GARDEN and follow the instructions of the recording.

• Follow the line on the map on the next page. Try to be as accurate as possible.

• When you hear the other people (in the recording) coming to a halt, stop with them and turn slowly towards the direction of your starting point. Think of these turns as a camera pans. Rest like this for a minute of contemplation, then continue the walk together with the others.

NOte: These turns were included by Louis XIV into his guide for the followers not to forget the centre of power, the castle of Versailles, where the walk started.

Perform this walk for just as long as you want. The audio track lasts for 15min, which is intentionally too long.

Take your time and then turn off the mp3 player.

dérive versus drive

32

33

SWEET SUITE

• Walk into the shopping centre City 2 and make your way up to the second floor in the part with the glass roof.

• Lean on the handrail, looking down at the seats of the food hall.

On the 2nd floor of the shopping center City 2 , Rue Neuve/Nieuwestraat

prelude

• Look around in search of as many sound sources as you can spot.

• Look up to the ceiling and up at the plants and paintings and mentally review all the sounds you have ‘seen’ in the space.

34

sarabande

• Now put the headphones on and play track SWEET SUITE. There is no sound in the beginning, this is normal.

• In case you like to close your eyes for a while, this would be the moment.

double

• After the track is finished, turn off the mp3 player and walk once through the entire shopping centre. Make as many 8-shapes as possible.

• Finally, leave the shopping centre quickly.

35

INTEGRATION IS AN ACT

Read this score before you go to the bus stop and put this book back into your pocket.

• Put the headphones around your neck.

• Mingle with the people waiting.

• Experience the other individuals, without ever directly looking at them.

• Take out this book, open it and pretend to read a bit.

• Put the headphones on, play track INTEGRATION IS AN ACT and wait.

At bus station in front of the parking 58 in the Rue de l’Évêque/Bischopstraat or any other busy bus stop

• After some time, slightly move your head to the beat.

• Write a text message (sms) on your phone.

• Send the message to +32 485 521 737 (my phone number).

• Now relax and wait for a bus.

• When the track finishes, turn off the mp3-player, but keep the headphones on.

• Slide a finger under your headphones’s left earpiece, block your ear and listen for one minute.

36

BONUS - & -

TRACKS

HOLODECK, PLEASE

36

37

BEAT IT

RUB IT

37

38

HOLODECK, PLEASE

• Go to the balustrade on the left, looking over the city centre.

• Register the whole sprawl of the landscape in front of you.

NOte: This recording was made in Nablus, Palestine, in 2011.

Nablus is a place located between two small mountains and is blessed with an extra-ordinary echo. In the beginning you hear me in a rush preparing the microphones. I went back several times, but never found the circum-stances and therefore the result as impressive as in this first recording.

On the 10th floor of the Parking 58, entrance Rue de l’Éveque/Bischopstraat

• Forget where you are.

• Listen to track HOLODECK, PLEASE.

• Try to locate the sounds.

In the fictional Star Trek universe, a holodeck is a simulated reality facility located on starships. It is depicted as an enclosed room in which objects and people are simulated.

39

Collage of Brussels and Nablus/Palestine

40

BEAT IT

filtered listening

Where ever it suits you. Maybe try one of the underground subway stations.

• Perform this piece by closing and opening your ears with your fingers.

• The changes between open and closed ears should be performed quick and sudden.

• Choose your own speed. Repeat bits of the score as often as you like. Feel free to make up your own beats.

L left ear

R right ear

close ear

open ear

fermata = keep for a while

suddenly, quick

hat

explanation of signs:

41

quicker and quicker think techno

continue by playing around

just headbanging

double speed

back to first speed

...

...

until it

hurts

keep

42

RUB IT

1 2 33 2 1

arm’s length listening

Where ever you think this should be happening. Maybe choose a not too loud place, like the Centre Monnaie/Muntcentrum.

• Rub your fingers next to your ears.

• Slowly move your fingers away from your head as far as your arms reach.

• Mark one pause on the way.

• Move both arms in different speeds.

43

COOL-DOWN •

Don’t listen anymore

•Be loud

•Get rid of this third ear

on your forehead

•

44

LOCATIONSHEAD -&- PHONES 8

1 GO IN Bourse/Beurs 10

2 KEY NOTES Church, Rue Neuve/Nieuwestraat 14

3 FROM SCRATCH Suggestion: Blvd Adolphe Maxlaan 15

4 GOOD-BYE Beursschouwburg, 16 Rue Auguste Ortsstraat

BODY -&- BUILDINGS 20

5 WALL SEX 22 a Seduction Rue des Halles/Hallenstraat 22

b Foreplay Rue de l’Éveque/Bischopstraat 23 c Sex Place de Broukére/De Broukéreplein 24

6 TRIPPING Boulevard Ansbachlaan 25

7 TANZ DEM KOMMERZ – Rue Neuve/Nieuwestraat 26 X Passage du Nord/Noord Doorgang

45

LOCATIONSHEAD -&- PHONES 8

1 GO IN Bourse/Beurs 10

2 KEY NOTES Church, Rue Neuve/Nieuwestraat 14

3 FROM SCRATCH Suggestion: Blvd Adolphe Maxlaan 15

4 GOOD-BYE Beursschouwburg, 16 Rue Auguste Ortsstraat

BODY -&- BUILDINGS 20

5 WALL SEX 22 a Seduction Rue des Halles/Hallenstraat 22

b Foreplay Rue de l’Éveque/Bischopstraat 23 c Sex Place de Broukére/De Broukéreplein 24

6 TRIPPING Boulevard Ansbachlaan 25

7 TANZ DEM KOMMERZ – Rue Neuve/Nieuwestraat 26 X Passage du Nord/Noord Doorgang

FIELD -&- RECORDINGS 28

8 THE GARDEN Parking 58, Rue de la Vierge Noir/ 30 Zwaarte Lievevrouwenstraat

9 SWEET SUITE City 2, Rue Neuve/Nieuwestraat 33

10 INTEGRATION IS AN ACT Rue de l’Évêque/ 35 Bischopstraat

BONUS -&- TRACKS 36

11 HOLODECK, PLEASE Parking 58 38 (see THe GARDeN)

12 BEAT IT Suggestion: underground subway station 40

13 RUB IT Suggestion: Centre Monnaie/Muntcentrum 42

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48Stand as close to the inner

wall of the pillar as possible. •

Stand very still and listen. •

Form an image of yourself being invisible, as if the pillar was closed by a door.

• Stand very close to the wall and listen

to the image standing very close. •

(the image of standing very close) •

Start very slowly to bounce back and forth, more and more, always going back the the first position.

• Slowly reach out of your corner with your head, while bouncing. think this as stepping outside.

• Keep bouncing slowly.

• Listen to the acoustic changes.

• Consider the changes of the sound

reflections as micro-changes. •

Imagine your head being a huge ball racing through a space of moving molecules.

• think a centimeter as a meter.

• Concentrate as well on

the slight wind around your ears. •

Collect all this data. •

this may become a very erotic exercise.

scor

e p

25

49