DAY 2
Participants presentations:
Tisha Noor Murkarji
Excerpts from two pieces.
Musician with classical training.
Experimental music. Performances, sound performed live. Compositions performed live. Prefer the tactile approach. Interested in setting off resonances.
The small details in sound. Having space in between the sound elements.
First work presented; Done on grand piano. Close use of microphones. To get more detail. Approx 5 min. Just the strings. Cagean approach to preparing the piano. Everything is prepared in advance. Hitting strings with different materials. Use forks and fans. Screws.
Not processing in the post production. Slow composition leaving space for silence. Hard fast vibrating sounds combined with pure tones. Hitting strings with different materials. Use of forks and fans. Screws.
Second work presented. Collaboration with string quintet. Using improvisation. Playing in the same register. Quiet. Again using different materials on the instruments. Including using the body of the instruments. Prolonged dwelling tones making a continuum. Connecting the different sounds as they emerge. Building up to a crescendo using one single harmony. Variations are applied by the different instruments.
Layers of sound which are sometimes clear and sometimes not. Open scores combined with improvisations. Will be released next year. Layer and layer used in the recording.
Nestory Syrjälä
Sculptures.
One work from Gothenburg this summer city art festival.
Connected to a canal in town. Inspired by Freuds interpretation of dreams.
A peeing stream from the canal. One wet spot on the walkway. It was not clear where the water was coming from. Tourists and kids stopped to investigate out of interest but not the residents of town. Situated close to a fountain sculpture.
First tested in the studio. One single, thin stream of water.
Interested in the banal and the sublime at the same time.
Other works;
Untitled (2006) Big metal plates vibrating. Hanging in the air. Low frequency. Overtones are making the sound. Placed inside a u-shaped wall.
Later: ten or more metal plates placed in a row. Vibrating in different tones.
Modificator (2006)
Playstation device. Blurring the picture of the playstation. Information connected to a chip on the backside of the playstation generating simple sounds.
Pulsating Wall (2007) Still points and moving points. Sound important to notify that there was something going on.
Interested in doing something that includes sound and specially surround. Space.
Marie Muller
Sound landscapes. Atmospheres and ambience. Situated in Helsinki.
Short extracts from work;
Raintears. Installation with video projections of tears on umbrella. Small electronic glockenspiel sounds. Intermixing with clear musical sounds from synths and piano, accordion. Harmonies. Trying to synchronize the sound of drops with the visuals.
Fishbowl. Projections. Woman swimming in the fishbowl. Speakers were put on the floor so the sound was spreading as much as possible. But hidden so it seems like the sound was coming from the bowl.
Landscape sounds intermixing with the environmental sounds. Using instrumental sounds. Coming from boxes holding outdoor chess pieces. Also using child voices. You had to be close to hear the environmental sounds, and they were supposed be more or less like music.
Animation. The music was made first and made strong mental pictures. Animations was then made to go with the music in a sort of music video style.
Want to use the ambient music from installation to be performed on stage. Also interested in using props in combination with this.
Christina Reenberg Jensen
Different frequencies. Video presentation. Cacophony of voices. 10 people started, but then left the room one by one. Circular panning with the camera. Live situation, but edited.
Sound becomes an important part of the video and it makes a good starting point for trying out surround effects.
Second video. Camera mounted on the back of a helmet. Dragging stuff along the road. Like a wedding procession. Sound changes at there is different kinds of streets.
Thunder in cupboard. Croatian project. Using other peoples recordings. Situated in a gallery.
Currently working on video. Observing places were you’re not supposed to be.
Interested in using sound from breaking objects.
Dodda Maggy
Video and music in a narrative way. Lo tech
Background from classical music.
Compose. Recording layers. Using playback in the recording situation used in the project.
Uses mini disc.
‘Layers’ (2004): 20 layers of piano
‘Stella’ (2004): Video piece.
Only use sound when it has a purpose.
Some of the works are silent.
Black screen is connected to the dynamics of audio and silence.
Iris (2006): Extensively edited. Differs from the rest of the work in the way that the editing rhythm is a lot faster. The music is still at the same pace as in the other works. Interested in working with audio and image together to explore the relationship between the two elements.
Working how to open up the form. Specially concerning the use of sound and voices. Never worked with live performances but interested in trying it out.
Linn Halvorsrød
Collecting text, objects, sound.
This is the good times(2007): Video documentation of installation and performance. Twisted environmental sounds. Sounds from the whole exhibition area are playing together. Some of these sounds are performed live like concerts. Linn plays the computer. Also plays concerts with more conventional instruments. It’s pure improvisation. Nothing is agreed upon before the concert starts.
The only structuring is concerning the total dynamics of the soundscape.
The sound files are stored in Abelton Live. This gives room to improvise by using the sound program as an audio mixer.
Morten Skrøder Lund
Two audio pieces. Using guitar pedals and piano. Compositions are both made for home listening and concert situations.
First. Quiet peace. Piano is played through a looper.
Second. Noise used extensively. Repetitions in rhythm. Changes over time to be less dense. Then changes back again.
Also been working with small sound sculptures.
Mostly the sound is from instruments but this not necessary.
Sometimes playing according to a structural setting.
The approach to sound is physical.
A main emphasis is on distortion of sounds. Combined with a few clear sounds.
Some for the stuff has to be listened to for a long time to pick up the different sounds the soundscape consists of.
Interested in getting rid of the narrative element.
Nanna Hellberg
Collaborate with a guitar player in creating music.
Presentation of two soundtracks fro these sessions. Set pieces of music concerning length and structure.
Working with video using the environmental sounds and direct sound from the video recording. Changing the speed of the sound.
The visual comes first. That decides how the sound is going to be processed. Often processed analogue. Cyclical repetitions of the sound, Following the changes in the visual elements in a synchronised way. The sound emitting from the tv sets. Using sounds from the computer. Glitch sounds. Made without control in the anti virus program of the computer. Working out from a sort of notational system for the sound and images.
Espen Lomsdalen
Work with painting, installations and sound.
Both solo and in collaborations with others.
Two steps beyond mankind. Installation.
Ease ur taxes/cremebrulee. Installation
Scandinavian Spastic. Installation
All of the installations are big in scale.
Now: installation and sculpture. Like to work live to search for the dynamics between people. This is in collaboration with Origami Intergalactica. Ambience.
Own Stuff; Noise based compositions. Some of it based on the use of conventional instruments, but distorted.
Just formed a band. Based on art theoretical texts. Presentation of video from the project. Minimalism and the rhetoric of power. Auditioned live for the jury of Høstutstillingen.
The rest of the day is used to get used to the technical equipment and how to combine the different applications in the surround sound system.
Screening of Robert Rauschenbergs Open Score (1966)
Concert at Dokkhuset.