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.
ohrenhoch, der Geräuschladen presents
on Sunday 2 March 2014, 2pm - 9pm:
Opening of the ohrenhoch archive
"the potato" is a multimedia archive for past, present and future presentations at ohrenhoch.
"the potato" ist specifically conceived for mini sound objects for sale, created by sound artists commissioned by ohrenhoch.
At the opening the sound object "Whiskerphone" by Bryan Day will be presented exclusively.
The complete Booklets will be displayed for inspection and for sale.
The sound interviews "Audio Field Report" by the individual artists, for sale as MC cassettes, will be hearable with headphones.
The ohrenhoch-Kids will also be represented with things.
There is also a new special loudspeaker installation: "Pencil oH", conceived for extremely fine and delicate pieces or loops.
It is a fragile archive, at the same time a wild construct with different applications which – according to the 'ohrenhoch' idea and approach – have been installed and realised subtly and exquisitly in a process for the visitors.
We look forward to presenting you an electroacoustic staging by Knut Remond of Wolfgang A. Mozart 'Die Zauberflöte - complete' especially conceived for the brand-new mini speaker installation "Pencil oH".
specially composed for ohrenhoch (Premiere)
by Ingvar Loco Nordin
Ingvar Loco Nordin on "Zwischen Hier & Jetzt" [135 min.]:
The extended work you hear from me at ohrenhoch is composed by me especially for ohrenhoch, but in many ways it reflects my usual way of working with sound. I carry with me a Zoom recorder, which is cheap enough to be able to bang around in all kinds of weather and situations, while still being quite good, or, should I say, well enough for my purposes. It has enabled me to catch all kinds of sounds that I then can work with in various sound soft wares in the Mac, for final destinations in complete works of sound art.
Many of the sounds heard in Zwischen Hier & Jetzt originate on my woman’s farm up in Niemisel, a small village in the far north of Sweden, in the District of Northbothnia. Other sounds in Zwischen Hier & Jetzt come from a broken, destroyed piano – a Rösler upright piano – that I and a friend found abandoned on an industrial lot for imminent transport to a garbage dump. I have listened a lot to Australian ruined piano fiend Ross Bolleter, so recording this Rösler wreck felt very natural, and absolutely necessary. It was cold and took a stubborn mind to make these recordings in the dark and several minus degrees, with a headlamp lighting the scene. Only the soundboard remained. The keys were spread out on the asphalt ground. Even though so much sound comes out of that soundboard, the sound is exactly as it was, with no electronics invested in the recording, and no cuts being done.
Ingvar Loco Nordin
When this work is presented at ohrenhoch, I will just have turned 65. I don’t know what this means. To many others it seems to mean retirement, tiredness and all kinds of negativity. I don’t fit into that at all. For one thing, I will continue my work as a crime investigator with the Swedish Police for at least two more years, and I am as active as ever, if not even more, with training on my carbon racing bike, at least 30 kilometers each night after work, either outside, or inside on rollers, and when the snow comes I train on skis too.I am a passionate mountain hiker in Lapland, and love climbing.
I keep composing works you would probably call sound art pieces. That’s good enough. I use any source available to me for composing, and do not limit myself in that sense. The world is an open project, and so is life.Much of my time goes into reading about modern science, cosmology, quantum physics, astronomy, biology, history and so forth, and I dwell long hours in poetry books and philosophy, while also studying Tibetan Buddhism and Buddhism in general, not as a religion, but as a way to attune your mind to the Universe and Existence in a practical way.I also write, with a professional ambition driving me, and right now I am working on a novel.
by Zbigniew Karkowski (* 17 March 1958 in Krakow, Poland; † 12 December 2013 in Peru)
"Die Wahrheit ist der Tod"
Theodor Fontane (1819-1898)
On the occasion of the death of Zbigniew Karkowski in December 2013, 'ohrenhoch, der Geräuschladen' presents his pieces or concepts "Catalogue of Noises" and "Catalogue of Noises no.2" which he conceived for the Bassbox loudspeaker installation in ohrenhoch where they were presented for the first time on April 14 and 21, and on May 5, 2013.
Zbigniew Karkowski described his concept "Catalogue of Noises" for ohrenhoch as follows:
"as it's 100 years anniversary of 'the art of noises' by luigi russolo i'm preparing a special piece for ohrenhoch which will be kind of 'noise catalogue'.the piece will consist only of pure noises - like white noise, pink noise, brownian noise, fractal noise, black noise, grey noise, blue noise, violet noise, stochastic noise etc. i have some really good machines and software to generate all these kind of noises so i will create an interesting and as full as possible catalogue of it.sort of like 'catalogue d'oiseaux' of olivier messiaen but this time 'catalogue of noises' by zbigniew karkowski." Zbigniew Karkowski
"Catalogue of Noises" and "Catalogue of Noises no. 2" is now presented again, on Sunday 2 and 9 February 2014. We look forward, despite the sad loss of this extraordinary composer, to experience again "Catalogue of Noises" in this special space-sound situation with you .
I made an interview with Zbigniew Karkowski about "Catalogue of Noises", illustrated it, and published it as a booklet (limited edition) to the premiere. For the presentation in February 2014 I will make a Special Limited Edition Booklet "Catalogue of Noises" / "Catalogue of Noises no. 2" (5 copies) with the interview.
Knut Remond / ohrenhoch
Zbigniew Karkowski was linking the worlds of modern composition and industrial music. He was a pivotal figure in the development of advanced noise. Constantly on the road, he was a frequent performer on the geographical fringes of experimental music culture as well as a mainstay on the established festival circuit.
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