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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


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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:

Sue Tompkins uses text and the printed word to represent both sound and meaning, and opens a new exhibition of her text on paper works at Lydgalleriet. Drawing inspiration from everyday events and experiences she recontextualises them through writing, and gives them a different kind of rhythm on paper. Through her work she transfers multi-dimensional performance ideas of rhythm, tempo and composition in to the gallery space. 

The opening of Sue Tompkins' exhibition will also include an exclusive screening of a new film by artist Luke Fowler. Country Grammar, an 18-minute film transferred to digital from 16mm, takes as its starting point a 2003 text performance by Tompkins of the same name, but is far from a documentation of the work. Only this one screening, in colaboration with Borealis Festival, 8th March 5.30 pm.

Photo: courtesy the artist and The Modern Institute