Treatise tells what it is like to manipulate sounds in composition. Sounds-ideas; reading Treatise is a twilight experience where the two cannot be clearly distinguished (1). 
Storytelling is an exchange of breaths produced by the sounds resulting from the resonating air with our body acoustics. These sound impressions are then passed on repeatedly in ever-changing shapes. Sound renders these stories visible. It animates their enactment and allows their transmission. But no sound can be repeated exactly. Sounding is active and generative. Sounds are verbs(2).
This exhibition thus departs from the experience of sound towards alternative uses of language and narration, taking as its basis the homonymous work by the composer Cornelius Cardew, in which he challenged the performative, the aural, and the visual, based on the dislocation of notation in his score. In his Treatise, Cardew created a network of symbols that encompassed diverse possibilities of access, giving rise to alternative interpretations by questioning the normative use of language. This score is then suggested, as a latent tool awaiting myriad forms of action. Treatise: What is it? Well, it’s a vertebrate...(3)
Following this notion is that this exhibition explores the narrative possibilities of various natural and aural phenomena through an ensemble of works that reinterpret the established codes and scales to describe these happenings(4), rewriting them into notations that privilege the use of sound as an action and as an equivocal material open to casualties.
Through this exploration, the exhibition sets passive and active moments between the works and other external actors, which unfold complex interrelations. Hence the works function as a network that interacts as an intertwined polyphony, affecting and contaminating one another, but also as individual compositions that relate an event and demand its intimate encounter.
1, 3 & 4 - Cardew, C. (1970). Treatise: Working Notes / 2 -Schafer R. M. (2009)