Sacred technologies: an autoethnographic exploration of a musician’s relationship with electronic technology

This doctoral project examines the relationship between humans and technological objects in the context of music performance. It is practice-based research consisting of a written part and four new performances. Each performance focuses on specific electronic music technology such as electric guitar, microphone, speaker, synthesizer and computer. If the more realistic objective of this artistic research project is to deepen my connection with technological objects, the ultimate goal is to make myself believe that these technologies are sacred.

The method of this research is partly based on autoethnography as it analyzes and criticizes my life events related to my relationship with technological objects and my experiences of the sacred. To fuel this ethnography, I’m creating ritualistic sound performances, where I stage and deconstruct these objects according to my understanding of their sacredness.

This doctorate is partly a psychological experiment on myself through which I explore the process of belief formation. In doing so, this project examines the mythical and enchanting dimensions of electricity and how this can enable a sacred view of technological objects to emerge. It also explores new ways of interacting with electronic technologies and aims at providing insights into the ritualistic nature of music performance.

Charles Quevillon is a doctoral student in the Arts Study Programme at the MuTri Doctoral School.

• Keywords:
• Music
• Performance,
• Ritual
• Sacred Electricity
• Technology