In their recent research, Judith Hamann examines the acts of shaking and humming as formal and intimate encounters. They look at collapse as a generative imaginary surface; and explore the de-mastering of bodies, both human and non-human, in settler-colonial heritage instrumental practice and pedagogy. Their process-driven and embodied practice considers the ways sound operates as a subject, object, and actant. Trained in contemporary classical performance, they frequently challenge the boundaries of their instruments, whether the cello, voice, or body, to test how sonic thresholds offer generative sites of instability and movement. Judith’s research in Siena will focus on responding to the sonic landscapes of Chiusure and the region, creating new work that focuses on imaginary collapsed surfaces, traces, and haunts, and that challenge the recordist as performer.
Judith Hamann is a cellist and performer/composer from Narrm/Melbourne. Their long- term practice focuses on performance and has moved through different frames in experimental, new, and improvised music, they have “long been recognized as one of Australia’s foremost contemporary-music cellists” (RealTime Arts). More recently, their work has turned to composition within live and fixed media frames. Their work encompasses performance, improvisation, electro-acoustic composition, site-specific generative work, and micro-tonal systems in a process-based creative practice. Judith’s work has previously been published by labels including Blank Forms, Black Truffle, Another Timbre, and Longform Editions. Judith holds a Doctor of Musical Arts degree from UC San Diego.