Shaking Studies, is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Judith conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.
In this process driven performance, Judith also draws on ideas from Édouard Glissant’s ‘trembling thinking,’ and Henri Lefebvre’s concept of rhythmanalysis. Considering rhythm’s possibility and function beyond merely divisions in time, but that pulse, vibration, cycles, could be reframed as not only a sounding object, but also a sounding subject, that these materials may be extended outwards, to reveal something about our environment, and ourselves. What if shaking then, which in itself is a kind of rhythm, could be considered a subject? An agent or investigator? What could shaking then reveal or tell us about matter, material, relational instrumental performance, and even self?