REPORT WEEK 1 PROCESS REPORT WEEK 2
1 (July 20)
of participants, and setting up the studios.
group meeting. introductions and lecture by Andreas Lenhard:
observations on autism
Workshop on internal perceptions / The Other Side of the Mirror
sound presentations: Caroline Wilkins / Luca Forcucci
group meeting: installation and participatory structures: perceptions
of audience/audience perceptions and distresses
site excursion: architectures of mining / birds eye views, infinity
roads, uncanny valleys, and colosseum.
of heroes" (Sammlung der Helden) in the Eindicker (sinking pond)
workshop in the Electric Hall, guided by Caroline Wilkins
eye view of 10KV Electric Hall
objects and fictional story
fictional story (in other language) and simultaneous translation
re-translation into imaginary onomatoopoeic language and sound, performed
video presentation of works by Ludmila Pimentel
Planning meeting for recording activities and composition
recording session (interviews about "The Other Side of the Mirror"
and sound questions)
video presentation of UKIYO by Johannes Birringer
Planning meeting for editing activities and composition
improvisation performance in Electric Hall
discussion over dinner regarding politics and art, relational aestehtics/participatory
interactional performance and exhibition: how much do producers and
artists take audience perceptions into account;; do they have empathy
with their audiences.
editing and processing time, composition time
model: Alvin Lucier "I am sitting in a room" (1970)
(He is sitting in a room, speaking, the spoken is recorded, re-recorded,
A similar process was used today in the 10 KV ELECTRIC PLANT.
Stefan and Luca had put together a string of samples collected in the
environment of the mine. these sounds were edited and then played back.
4 loudspeakers were positioned in the 10KV facing the walls, and the
sounds were played/sounded and diffused into the architectural space,
and this performance was recorded (first generation). The played sound
is now recorded in the manner in which it sounded in the building. This
first generation was then played back again, and recorded again, and
this process of regeneration was repeated several times. (6 generations).
Each time, the "soundscape" or the sounding is received in
a new stage of reverberation/resonance with the concrete, material building.
After several generations, the original sound object is increasingly
blurred and changed, re-mirrored and distorted, and after 6 generations,
the now existing sound is quite completely different from the original
playback. Its living changes.
The architecture of the building has changed the sound.
The perception of sound in this case is then also a perception of space
or of spatial realities or illusions --perceptional structure,: spaces
of hearing (sonic spatiality).
2. Hyperbiological Network
session with Luca Forcucci on brain resesarch in Lausanne and his new
plans for a performance using hyperbiological network (multiple feedback
and re-generating cycles between brain waves and musician/instrumentalist).
Dinner and music theatre (on film) presentation by Liquid Penguin: excerpts
from Schrödinger's Katze and Bout du Monde
Arborescent Movement Warm up. Planning meeting for editing activities
and composition and projection
improvisation performance in Electric Hall. Ludmila, Caroline and Uschi
begin work on movement characters in the space
different locations for the audio diffusion system
Katharina in her new paper dress
Lucca Forcucci presents overview of his reseaech at Brain Institute,
Lausanne, and plays examples from his compositions.
Alien Love Song
Shown on video from a live version of the title of my Album
2 Humans & the Cosmos.
The live version quartet includes Michael Kott (Cello, Santa Fe, New
Mexico, USA), Vincent Pellet (trumpet, Switzerland),
Yannick Oppliger (Drum, Switzerland) and Luca Forcucci (Composer,
Alien Love Song
This acousmatic piece has been composed to accompany a sculpture at
the opening of the New Conservatory of Neuchâtel, Switzerland.
The sculpture is a meteorite. The composition questions the relation
between the space and the place and their intrinsic properties. How
integrate the sound of the place of performance into the performance?
Where the sculpture stand, 2 strong elements appeared: the sound of
the trains and the view of the lake.
The analogy between these 2 elements is the sonic frequency that we
can find in either the sound of the train (in the composition this is
also « un clin d’oeil » to Pierre Schaeffer) and the
sound of the waves or the river going into the lake. The Fall refers
to the meteorite sculpture and not to a book of Albert Camus, to a Punk
band or to a economic reality.
We are living an acceleration and a mutation of our lives; ubiquity
is for everybody, with our mobile, with the web, etc. A frenetic new
way of living. As Felix Guattari stated in “Les Trois Ecologies”
(Guattari, 1989, Galilée, Paris), a new approach to our relationships
is necessary “An ethno-political articulation, that I called ecosophy,
between the 3 ecological registers, the one of the environment, the
one of the social relationships and the one of the human subjectivity”
My piece proposes to enter these issues by listen to the natural environment,
the full immersion in an unknown world. The social relations here are
those of the fauna: have we never dreamed of the precision of an anthill
or a hive. How to transpose this to a sound form? Finally the human
subjectivity must come naturally from such a spectacle.
ends the process for the first week
ist Interaktions-Kunst? Ein Manifest.