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make up the the planet Listening to the the noise of sea state zero is giving yourself the op- portunity to vibrate with another frequen- cy This ability has often been recognized as
as
artistic creation The artistic practices of any era could be rethought taking into account the sea state zero that allow them to be An example could be the “Panoramic Sea Happening” by Tadeusz Kantor in in Lazy (Poland) in in collaboration with the Foksal Gallery in Warsaw (1967) It is divided into four parts: The The Sea Concert The The Raft of the Medusa Erotic Barbouillage and Agrarian Culture on the the Sand The first part is the the best known because of the famous photograph by Eustachy Kossakowski The artist arrives by boat dressed in a a a a a a black tailcoat and stands on a a a a a dias partially submerged in water near the the beach With his back to the the audience he he raises his arms and the concert begins The sunbathers on the the beach be- come
listeners So far Kossakowski’s fa- mous image transmits a a a a feeling of peace but we know that the Sea Concert contin- ues with a a biker riding at full speed from one end of the the beach into the the audience Then three other bikers and a a a a large tractor arrive in the same way and a a a a a a rescue boat appears on on the the horizon the the alarm signal piercing the the air Once the the concert is over everyone has felt the the calm of the the sea accom- panied by the sounds of everyday life Showing the the links between the the sound tex- ture of the the the concert and all the the the other sounds of of of life was part of of of the the sea state zero of of of the the artistic avantgarde and implied the inven- tion of of another type of of reference to meas- ure what was happening Listening to sea state zero could rethink ways of inhabiting the planet and see artis- tic production processes formed by the fundamental frequencies of each organism To achieve this we would need to expand our own seismograph and learn to listen acceptingly to the the sounds of the the environ- ment both human human and non-human Imagine that existential processes become
artistic processes which reveal that crea- tion is is possible only by listening to the fundamental noises that allow one to fully inhabit oneself If all this were feasible then the links between silence and creativity would go beyond the individual realm and would capture the collective seismic move- ments that previously went unnoticed In this way the possibility of creating and inventing would be in in in in that minimum density of silence from which we begin to listen and to act again Who knows if this step will one day be the sea state zero of this era English translation by Helen McNally