To hear on Sunday 20 and 27 April 2014, 2pm - 9pm:
Sound construct for 11 loudspeakers distributed in 2 loudspeaker installations, accessible in buckled, deformed zones or listening spaces.
Recording technique of killAmor for the presentation at 'ohrenhoch':
The recording of killAmor was made in the ohrenhoch basement in October 2013. killAmor recorded several sessions on two days in the three basement spaces. 2 different stereo recording techniques were used and also several close microphones were placed at the speakers of guitar amplifiers, and the line signals were directly recorded. Two acoustic levels result thereby. A spatial recording reflecting strongly the sound of the ohrenhoch spaces, quasi measuring/lighting acoustically the sound of the basement at ohrenhoch, and a direct level making hearable directly and "dry" the sounds produced by killAmor. The two stereo setups have different properties: The OSS stereo recording technique is regarded as being particularly suitable for chamber music recordings. It results in a nearly graspable realistic "natural" spatial sound. The XY or Blumlein stereophony shows the sound in a spatially direct and markedly more present way, which at times creates the impression of enlarging the music as through a magnifying glass. The two stereo microphones were placed in changing positions during the recordings so that different acoustic images result.
In the editing we overlaid the two recordings in some passages, in other ones we left just one of the stereo tracks.
killAmor on the two loudspeaker installations at ohrenhoch
The two sound levels - spatial or direct recording - were finally allotted to the two loudspeaker installations in the ohrenhoch shopwindow space and cellar ("Bassbox").
The piece you hear on Sunday is a four channel feed. It projects to the original spaces what has been played within the spaces, or it transports the spatial impression of the recording into another room or another place at ohrenhoch. The visitor experiences frequent and sometimes surprising changes of perspective, projections of the music of killAmor, in and from the ohrenhoch spaces.
ohrenhoch presents on Sunday 6 and 13 April 2014, from 2pm to 9pm two works by Dariusz Mazurowski:
Electroacoustic composition - Special version for ohrenhoch gallery (2013/2014, Premiere)
On the ohrenhoch loudspeaker installation in the shopwindow space
With exhibition of the sketches, spectrograms and scores
Video and Audio Installation (2014, World Premiere)
In the ohrenhoch basement
Dariusz Mazurowski on "Non Acoustic Symphony" [45:33]:
Non Acoustic Symphony is a large scale electroacoustic composition (in the past such kind of music was described as “music for tape”), which contains seven parts – each one has own dramatic structure and profile.
Non Acoustic Symphony is a treatise on the nature and coexistence of various sounds – from pure acoustic to pure electronic. Both counterparts have been processed, so many times it's virtually impossible to recognize the source. And there are many examples of hybrid sounds, mixed from various sources, processed with analog and digital tools.
Each part has an instrument, group of instruments or sound as a main theme. Subtitles in fact have nothing in common with musical sense, but reflect some ideas, passions and sometimes obsessions of the composer. As Non Acoustic Symphony is also a kind of a musical voyage through time and space – titles in general refer to famous Voyager (1 and 2) space mission, solar system phenomenons and selected objects. Anyway, this is not artist's intention to give any simple description or association – Non Acoustic Symphony could potentially be anything You, the listener, want.
Dariusz Mazurowski on "Two Silly Dancers":
Two Silly Dancers is a special kind of a journey through virtual space and real time – journey “frozen” in a loop, or a series of loops to be precise. The general idea behind this installation is based on a television and Internet role as a virtual alternative to real life. This is why we may observe mixed scraps and samples of various images, reflecting sometimes true events or directed scenes – but all as through TV or computer screen. So they are “unrealistic” real... Everything is assembled apparently without logical order, or seems to be beyond standard understanding. Some moments could be even provocative. This may symbolize a paradox of our existence, where serious moments overlap with lighter ones, sense with nonsense etc. And finally – all happen only on a TV screen... So what is real, what makes sense, what does it mean ? Two Silly Dancers installation has not been assembled to give any answer, if there is any program idea behind it – rather to ask questions. All in all, in our real lives we always have much more questions than answers.
Mentioned above journey is also a bit questionable – since we may watch a highway through the front window of a car, we stay in a gallery space with a video projection. Time is changing, image is changing, so what in fact are we doing ? Staying or moving ? Today television and other electronic media (especially Internet) have the capacity to trick many people, so they are unable to distinguish virtual world from real one. And as that virtual counterpart seems to be more attractive than a real life (wrong, that's a big mistake !), they abandon reality in favor of illusion. This may led to a nightmare like this installation.
is a Polish classical electroacoustic music composer, born in Gdansk in 1966. In his works, he combines traditional analog instruments with the sonic potential of digital technology and microphone recordings. He is also active as a visual artist (graphics, drawings, photography and video) and as a journalist (publishing texts mainly devoted to contemporary music history, perspectives, theory, technical aspects and studio technology).
He spent the 90s mostly in Prague, returning back to his hometown at the end of that decade. Since mid-90s he has built his own analog experimental instruments (including synthesizers) and collected various, often strange, sound objects (such as stones, pieces of wood, old mechanisms, etc.) regarded as a source of acoustic material for further transformations. His musical works have been aired by various radio stations, played live at festivals and other events in Europe (Germany, Poland, Czech Republic, United Kingdom to name a few) and beyond (for example USA and China). His installations, visual works and graphics have been exhibited in numerous galleries around the world. Dariusz Mazurowski is a member of the Polish Society of Electroacoustic Music (PSeME).
(2014, World Premiere)
by Emilie Payeur
Emilie Payeur on her piece 'Kissing Hitler' [10:05, Stereo]:
What sound accompanied Marilyn Monroe’s death? (Question by Knut Remond in the interview 'Audio Field Report no.5')*
Trying to answer this question was the motivation behind 'Kissing Hitler'.
I used a lot of sound recordings from archives and the more I was listening to them, the more I understood how unhappy and hurt Marilyn Monroe was beyond appearances.
The title itself comes from a declaration she made during an interview saying that some actor once said that kissing her was like kissing Hitler.
Emilie Payeur (Thetford Mines, Quebec, Canada, 1986) Lives and works in Montreal.
The electroacoustic composer, visual artist and electric guitarist Emilie Payeur presents works steeped in the influence of the abstract movements of the 20th century, the psychedelic art of the 60’s, experimental cinema and good old fashion surrealism. Her research focuses on understanding and adapting her painting processes to her work as musical composer. Her compositions have been performed throughout the world. She has notably won a prize the prestigious Bourges competition in 2009, and won 3rd prize in the SOCAN’s competition for young composer, in the Hugh Le Caine category. In 2010 she received first place in the University of Louisville Young Composer Competition for New Electro-Acoustic, and was among the laureates of that year’s JTTP competition of the Canadian Electroacoustic Community. In 2011, she won 2nd prize in the SOCAN’s competition for young composer, in the Hugh Le Caine category.
* "Audio Field Report no. 5" – available at ohrenhoch
MC cassette, Limited Edition (8 copies), numbered:
Interview with Emilie Payeur
Questions, sound file, mix by Knut Remond, March 2014
To hear on Sunday 9 and 16 March 2014, 2pm - 9pm:
Composition for Radio
by Warren Burt
“If you truly wish to know nature, you must know her in her bad moods as well as her good moods.” –Henry David Thoreau
Warren Burt on "Like Billy Pilgrim, He Had Come Unstuck in Time" [Duration 18:00 min.]:
In early October, we experienced nature in one of her bad moods. A very strong windstorm struck Victoria. We were staying at Portarlington, on the Bellarine Peninsula, when the storm struck in all its fury. We were staying at a bed and breakfast, and I noticed that by placing a sound recorder near the windows, we could get very good recordings of storm sounds without any wind noise on the mics. House as windscreen, if you will. With gusts of up to 100km/h, that’s about the size of windscreen that was needed. I made two recordings, one at the front of the house, the other at the rear. These recordings form the basis of the piece. In August, I also made recordings at several locations in Malaysia – in the lobby of the G-Tower Hotel, in the Ampang Park Shopping Mall, and at the Kuala Lumpur Airport. These, combined with a 5am October recording of our back yard in Daylesford, form the material of the piece.
As well as using the raw recordings of the environmental sound, I also took 1 minute segments from each sound, and using the program Photosounder, I inverted the spectrum of each sound – literally, I turned the sound upside down – and time-stretched these to last 3 minutes. I also took the one minute segments, both original-form and upside-down, and using the program Melodyne, converted the sound to MIDI information. This MIDI information then played a variety of virtual pianos using the Pianoteq virtual piano. Each piano segment was also put into a unique microtonal scale, based on the “Mt. Meru” scale diagrams of Mexican-American music theorist Ervin Wilson.
So what we have in the piece are unaltered environmental recordings, inverted and time-stretched environmental sounds, and sequences of piano music, which are a conversion into notes of the original and inverted environmental sounds. All these sounds are placed into a form that is fairly unrelenting, and very high energy. Like Billy Pilgrim, the hero of Kurt Vonnegut’s novel “Slaughterhouse Five,” the listener is also “unstuck in time,” being hurled from one soundscape to another, sometimes recognizable, sometimes distorted beyond recognition. Various surprises happen throughout the piece, some humorous, others verging on the macabre. Time becomes surreal and fluid here, despite the fact that the piece proceeds in implacable units of 1 minute each. The storm is not only a physical one – in this mix it is a psychological one as well.
Sounds were recorded in August and October 2013 in Malaysia and Victoria. Mixing, processing and editing took place on October 19-20, 2013, and the piece was completed on October 23, 2013. It was requested by Scarlett de Maio for her program Ears Have Ears on FBi Radio, Sydney.
Born 1949, USA. Composer, performer, improviser, writer, instrument maker, video artist, sound poet, etc. Studied at State University of New York, Albany and University of California San Diego. Moved to Australia 1975. Has performed his music in Australia, New Zealand, Japan, USA, Canada, Europe. Writings include "Critical Vices: The Myths of Post-Modern Theory" (with Nicholas Zurbrugg), and "Sounds as a Means of Changing Consciousness" in International Synergy Journal, Los Angeles 1986. Builder of many acoustic and electronic musical instruments. Recent albums include "The Animation of Lists and the Archytan Transpositions" (XI New York 2006). Currently living and working in the Melbourne area, and teaching at Box Hill Institute, Melbourne.
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