Aural Transposition, Psychogeography and the Ephemeral World

Aural transposition sits at a crossroads between being a tool for practice and creating work, and being a tool that illuminates aspects of another entity. In day-to-day music practice, transposition can be an age-old tool for learning material, or a multi-layered exploration of an object or place. Transposition can also be a means of recreating places, real or imagined, through the transposition of ghost traces back into sound. And the transposition of spaces onto other spaces is possible through multichannel sound arrays. The territory for re-imagining both sound and place lies in the impossible space between the sounding entity at hand and the instrument that transposes it. Just as in the dérive of psychogeography, the spaces between well-trod paths leads to a world beyond the banal. This exposition first situates these practices in psychogeography, and amongst other artists whose work utilizes various transposition, soundwalking or psychogeographical practices. It then discusses those aspects of my own artistic practice and work—across a spectrum of electroacoustic music, improvised violin work and collaborative composition for an ensemble of mechanical string instruments— that are centered around aural transposition as an act of psychogeography.


Violinist, improvisor and composer Katt Hernandez is currently earning a PhD in Music at Lund University. She works with a host of artists in many projects. Most recently she has played in the Fire! Orchestra, Lotte Anke’s subhabitat project at the Rhythmic Conservatory in Copenhagen, Klas Nevrin’s Music in Disorder project at the Royal College of Music in Stockholm and Libero Mureddu's Hexad ensemble in Helsinki, and with many other projects in spaces both known and unlikely–in addition to her composition and solo work. Katt's work has been featured both locally and internationally, more recently at Nordic New Music Days in Bodø, Khimaira in Stockholm, Copenhagen Jazz Festival, Motvind Festival in Oslo, Antenn festival in Gnesta, SuperDeluxe in Tokyo, The Brooklyn Common in New York and MuTeFest in Helsinki. Before leaving the U.S., Katt was a veteran of experimental music scenes, art spaces and activist circles on the east coast, where she worked with a vast array of musicians, dancers, puppeteers, film-makers and other artists.