Earlid | winter 2018
As a sound artist and environmental worker, I believe sound and voice can interrupt, influence, and ultimately intervene at key moments in ways other intervention art strategies can’t.
Estok’s sonic interventions span across a decade between her attending UN meetings—first in 2000 as a student activist and then in 2010 at the COP16 where she intruded upon delegates with her Hypersonic Sound (HSS) technologies.
Experiences in presenting Interpelled are mixed: there’s confusion; fear of physical harm; disdain at potential manipulation given that HSS has its own history for military control and surveillance.
Her ethics and aesthetics are being questioned. And yet Estok’s approach is towards the soul, the heart of the listener.