CTM Festival are proud to host the world premiere of “Perceptual Geography” by Thomas Ankersmit, a solo performance inspired by - and dedicated to - the pioneering research of legendary American sound artist Maryanne Amacher (1938-2009).
The concept was initiated by Amacher, and can be understood as the three-dimensional arrangement or choreography of sonic phenomena. Her extensive research on perception, psychoacoustic phenomena, sound spatialization, aural architecture, and expanding the role of the listener will form the basis of Ankersmit’s new work. Considered by Ankersmit’s as one of his greatest inspirations, Amacher met the synthesist in 2000, and the two remained friends up until her death. Furthermore, Ankersmit’s main instrument, the Serge Modular Synthesizer, was developed by Amacher’s partner, Serge Tcherepnin.
Thomas Ankersmit is a composer and synthesist based in Amsterdam and Berlin. Ankersmit’s acousmatic work displays an eclectic and detailed approach to composition, as demonstrated in his recent album Homage to Dick Raaijmakers (released on Shelter Press in September 2018), as well as his full-length albums on PAN and Touch. Since 2000, Ankersmit has staged his work in many unique settings, from internationally renowned art institutions to various electronic music festivals.
During the first ten years of his activities, Ankersmit’s practice centred mostly on installation work and live performances. However, over the past eight years, he has begun to focus his attention towards recordings. In 2011, PAN released Forma II, a collaboration with Valerio Tricoli; and the solo record Figueroa Terrace followed in 2014. He has since performed and toured with legendary composer Phill Niblock and experimental musician Kevin Drumm. His latest offering on fellow experimental musician Felicia Atkinson’s Shelter Press label demonstrates a mastery in analogue synthesis. Tape music pioneer Dick Raaijmakers offers a point of departure for Ankersmit to explore ‘holophonic’ sound fields. Each listener generates their own perception of the record through the inner ear conjuring non-existent sounds.