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Flammepunkt

Elektro Audio Unit, Anders Tveit, Natasha Barrett, Anders Vinje, Ruben Sverre Gjertsen

Velkommen til en akusmatisk konsert program i fire deler, kuratert av våre venner i EAU (Electric Audio Unit).

Gratis entré

Program

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1. ANDERS TVEIT «And the ticks turn into tocks and the tocks turn into ticks»

For 12 speakers. Duration: 12:00 Format: 5th order Higher Order 2D Ambisonic, SND2D norm.

About The title of this piece is taken from an answer given by free improvisation guitarist Derek Bailey on the question “What happens to timeawareness during improvisation?” The title does not only reflect and relate to my fascination of how we experience and perceive time and duration, but the piece is also a continuation of my previous Ambisonic work, Ierotelestia (2013), where I drew inspiration from metaphysical and ancient esoteric belief systems symbolical, magical and obsessive understanding of numbers. Such symbolic representation, subjective measurements and conveyed meanings are also very present in this piece. However, rather than numbers, this time my soundingfantasies are on the concept of Time, taking cues from my interests in metaphysical and philosophical viewpoints, measurements and horology. The piece was realized using selfdeveloped software and spatialisation schemes.

The piece was composed in 2013/2014, commisioned by EAU (Electric Audio Unit) with support from Det Norske Komponistfond.

2. NATASHA BARRETT «Flammepunkt»

‘Flammepunkt’ was a multi-media outdoor performance that took place on the 14th September 2014, Eidsvoll, Norway. ‘Flammepunkt’ was created to celebrate the 200th anniversary of the Norwegian Constitution (Grunnlovsjubileet 1814-2014).

The music for ‘Flammepunkt’ is electroacoustic. It consists of 22 miniature compositions (in stereo) and a 16 minute multi-channel composition called ‘Flammepunkt’. These compositions were inspired by observing how people and governments interact in situations of disagreement: what happens when a large proportion of the population support a protest against their government, what happens when the general public feel they have no voice in their own country, what happened during the more recent political revolutions and democratic flights in Europe and the Middle East.

In ‘Flammepunkt’ I have tried to detach from personal opinion that lends sympathy to one side. Politics and emotions are too complex to cover all reasons and details. Instead I have tried, where possible, to create a balanced view of simple facts: listeners need to be free to decide on their own opinions.

On the 14th September, the music for ‘Flammepunkt’ was set up outdoors: the 22 miniatures were played as a soundgarden and the 16 minute ‘Flammepunkt’ played over a large outdoor loudspeaker concert system. The compositions are however designed to be played in any context – radio, Internet, home listening or electroacoustic concert.

In this concert we play a special remix of the Flammepunkt main work in ambisonics.

3. ANDERS VINJAR «Aria ex aria»

Materialet til “Aria ex aria” er opptak av rom – inne, ute, små, store – fylt med lyd fra mange typer aktivitet – teknologi, menneskelige uttrykk, naturlyder. Opptakene er gjort med DMS-teknikk eller Soundfield mik. Madelaine-kirken i Paris, bilen, fjellvann i Vassfaret, interiør i musikkinstrumenter, grønnsakhandleren, byvandring i Oslo – ulike klingende kvaliteter påvirker hverandre og formes videre, og skaper sammen et musikalsk forløp til stykket. Stykket er kodet i Ambisonics. Alt arbeidet er gjort med Linux og åpen kildekode programvare.

Verket ble urframført i april 2014. Komposisjonen ble bestilt fra BEK, med støtte fra Det norske komponistfond.

4. RUBEN SVERRE GJERTSEN «Territorial behaviours»

Territorial behaviours for 3d ambisonics skaper et terreng hvor instrumentene, dyrene og deres hybrider markerer sine områder. Alle opptrer i mikrotonale stemminger, som blir tydeligere jo mer tonisk sentrert lydtypen er. Analyse av tam-tam-klanger har for meg blitt råmateriale i flere verk, dem hører vi strykere og messing, transformert og omstemt i slendro, pelog eller overtone-stemminger, utkomponert i arpeggioer og antifonale mønstre. Representanter fra den norske faunaen lar seg ikke like hørbart finstemme, men kan på ulike måter møte instrumentenes gestikk. Instrumentalklangene kommer dels fra Ircam, dels fra samarbeid med Sjøforsvarets musikkkorps i Bergen, vi hører også Sindre Sortlands gitar og Hans Knut Sveens cembalo.

Verket er komponert i 2013/2014. Stykket er en bestilling fra EAU (Electric Audio Unit), med støtte fra Det norske komponistfond.

Konserten er presentert i samarbeid med:

Friday 23rd February, Lydgalleriet celebrates itself through the launch of two publications: Håndbok for lydarbeid i visningsrom, written by Lydgalleriet's former artistic director, Jørgen Larsson, as well as an anthology, Lydgalleriet Retrospectiv 2005-15, with contributions from several of the institutions' active artists and curators through 10 years.

Håndbok for lydarbeid i visningsrom is nothing less than this; a manual in how to assemble and work with sound in spaces that are not necessarily adapted for that intention. The book is written for people who work with sound in a gallery context: artists, curators, technicians, conservators and conveyors. Here the difference between frequency and toner is explained, and why sound is best enjoyed in spaces with skewed physics, giving specific instructions on how sound waves and resonance tones move, as well as how to make effective use of stereo.

The book was edited by Bjørnar Habbestad, another of Ldgalleriet's founders, and Petri Henriksson has provided it with informative illustrations. Lydgalleriet is very proud to publish the book and we strongly believe that this has been awaited by many who work with the curation, assembly and production of sound art.

Lydgalleriet Retrospektiv 2005-15 is our second publication, one that looks in the back mirror and reflects close history. When Lydgalleriet opened its first exhibitions, sound art was perceived as "the noisy cousin", expensive, demanding and impossible to have in the living room. At the same time, the artists, like the work of the material, experienced sound as a great freedom. The field was open without clear belonging or equivalent reservations. Experimentality was boundless. To some extent that it is still, but a closer definition of sound art has emerged as an artistic form.

A quick review of the activities of Lydgalleriet since its inception shows three main trends: a continuous discussion of sound as experience related to the auditive space's volume and influence (sonic ambience), composed sound as a result of kinetic installations and sculpture, as well as the relation to music. Artists and curators have since the start in 2005 shown historical iconic works by key artists such as Alvin Lucier, Stefan Rummel and Pierre Berthet; Christian Marclay, Flo Kaufmann, Janek Schaefer and Otomo Yoshihide unfold in a fragile wooden building in the Skostredet; challenged casual visitors to Sparebanken with the public art project Lydbanken, and an international conference about Sound Art, Ephemeral Sustainability, with sizes such as Barbara London, David Toop, Salomé Voegelin, Anne Hilde Neset, Christoph Cox and Christina Kubisch, organised by Lydgalleriet in 2012.

Accompanying the launch we have really cool live set of Blue Rinse (BOOKLAUNCH EDITION!) this evening, with Jiska Huizing, Julie Silset, Mathias Loose and Alan Ó Raghallaigh. Blue Rinse delves into the performative side of the sonic arts, and with the second edition forming a sonic illustration to the books being launched.There will be lots of good people, books, totes, sound, soaring violins, city soundscapes, stuttering voices, records in reverse, blue sinetones, guided meditation, buzzing synths and wine. You're welcome, 8 pm!