Robot-sculptures build on site by leftover trash and environmental sounds
Using a public transportation vehicle as an orchestra for an ambient live composition
Making trash come to life through resonance. Live sound performance and sculpture ritual
Composing and playing on the resonance profile of a given acoustic space
User driven composition with everyday soundscapes from complementary geographical sites
First public space Rainforest
Friday afternoon live circuit bending to all kids and their playful parents
Newest cooperative production within the info noise genre
Playful and radical interventionism
Circuit Bending is a party!!!
Strandrobotter (beach-robots) is a series of sound-sculptures created with my spouse, Susanne Paluszewski-Hau, on site by elements from the beach. Throughout a monthly period, We’ve researched, experimented and collected, various elements of sound and leftover trash and created 4 individual sculptures. Meet the nature guide ‘Osram’, the child molester ‘Trilene’, the data-punker Raze and finally the circuit bender ‘Pipas Saladas’. Strandrobotter was created for the event Copenhagen Art Run at Ishøj Strandpark. copenhagenartrun.dk/
Soundbus Photos in this post © Flora Tosti
The SOUNDBUS is a soundinstallation and performance where audience are positioned in a driving bus. In the bus is installed a sound system where it is possible to record and playback hidden sounds from the mechanical movements of the bus. A soundscape made from the sounds of the bus is being composed live and sent to the audience via a headphone system.
The live composition is organically developing and gradually changing as I try to edit and position the sounds coming from the bus journeying through the landscape.
The SOUNDBUS has been commissioned by ACTS festival 2012, LAK festival 2013, Wundergrund festival 2014/ Danish Art Council 50 years anniversary and by Danish Composers Society as part of the programme for the Danish Peoples Gathering 2015
Click here for videolink to docs-video of an early SOUNDBUS-version by Anders Find.
Listen to an interview in P1 – eftermiddag (danish national radio)
Animate is a soundart project that seeks to reveal and refocus on the qualities of leftover objects and things considered as aesthetically out-of-value. Animate seeks the hidden life of seemingly worthless objects considered as trash and environmental stains and bring them onto stage where they’re treated as the most beautiful instruments of human expression and investigation.
The project starts with researching on the local surroundings for trash and other disposed but re-usable objects. The objects are tested and rehearsed on for their own as well as mutual acoustic responsivity. As a result of this phase, the objects will end up being stacked, conjoined and in other ways organized into a sculptural organism of thrash objects. From hereon, the projects main event is a performance consisting of a live animation ritual where the objects are brought to life and start giving life and being responsive to each others acoustic capabilities.
Animate has been performed at Tårnet gallery for soundart in Copenhagen, Homegrown Choppers garage in Helsinki and lately at Nikolaj Kunsthal in Copenhagen.
Animate!!! has been supported by two Nordic Culture Point Mobility Grants.
Animate!!! is one of the compositional research projects for which I have been supported with a work grant by the danish arts council.
Kammertonen is about amplifying and controlling the resonant frequencies in the actual space being performed in, using simple equalization and a resonating instrument, tuned precisely for the soundwaves hitting the instrument at the exact position it is placed. In this manner, the acoustic character of the room becomes very much alive and responsive to the musicians performance.
Kammertonen is one of the compositional research projects for which I have been supported with a work grant by the danish arts council.
These documentations is from a prototype of the project featuring a small introduction + some excerpts from a playthrough performance for a small audience of 4 people. Tuning for 6 string bass. (24 hz, 39,81 hz, 48,49 hz, 61,94 hz, 97,86 hz, 118,5 hz)
When experiencing this piece first hand you hear a omnipresent style of soundscape. Therefore I urge to bear in mind that the sound you can hear in especially the videoclips is actually a very poor representation of what is happening acoustically in the space.
One interesting thing from the “bad recordings” though, is that you can actually grasp the phenomenon of the lively acoustics in the space. At certain times in the recordings the microphone is clipping, even though the overall volume of the performance isn’t that loud. This is happening because the microphone is placed at a spot where some very specific soundwaves at certain times are vastly enhanced by the room acoustic feedback. Imagine this is happening to you while you walk around in the space. Some times you can even feel the air moving as a pulse on your body without any corresponding level of sound coming to your ears.
Intro w/ subs https://vimeo.com/89035086
Main section w/ bow https://vimeo.com/89035088
(Please use proper headphones or sound-system)
Listen to the World is an interactive sound installation that plays back recorded everyday sounds from a number of selected places around the world. The purpose of the installation is to enrich the perspectives and possibilities of the sounds that surrounds us by giving audience an experience that can make them more conscious of their own acoustic everyday environment.
The installation is therefore created as to make possible for audience, an easy-to-access, analytical comparison tool and even an instrument for creative soundscape composition. By using a simple group of buttons and knobs, the audience can select different sounds from different places, and control a simple set of mixer variables, eg. volume, balance etc. The physical installation consists of a simple setup with a computer screen, a set of headphones and a small control pad.
I’ve invited a group of artists to record and send me sounds from places that had some resembling geographical characteristics. The task I gave the artists was to find a small group of sounds that stood out and had some sort of uniqueness to the place. I also asked the artists to take a picture of the sound origins plus write a small text describing the sounds. I ended up with 5 groups of sounds that represented 5 different soundscapes from 5 different places.
This version has been created as a long distance, network cooperation where I have communicated without physically meeting the participants, but it can also be done in a site specific version, for example as a school workshop-format or in relation to a festival or other exhibitioning event where participants spend time together recording sounds that are afterwards gathered and exhibited.
Listen to the World was first time exhibited at the Smag Verden festival in Copenhagen, august 2013.
Please contact me for a version of the catalogue from Listen to the World #1
Listen to the World #1 also exhibited at Gängeviertel in Hamburg, november 2013
Please feel free to contact me regarding ideas for setting up Listen to the World or if you have any other comments.
Thanks and great credits to Anders Børup for programming and sharing.
Participating artists in this example version
SØS Gunver Ryberg (DK)
John Grzinich (US/EE)
Jez Riley French (UK)
Maile Colbert (US/PT)
Rui Costa (PT)
Valeria Merlini (IT/DE)
Lyt til Verden is a sound installation where audience can compose their own personal soundscape by using a simple interface controlling a program and a bank of different field recordings from various places.
The recordings were done by an international group of field recording artists who were given the task to
- 1. find a location with geographical similarities to the site of the actual installation.
- 2. Analyse and record sonic events that represented this location in particular.
- 3. take photos and make a small description of the location and the recordings.
The material was published in a pamflet that were placed at the installation so the more curious audience could dig deeper into the sounds, locations and the artists.
This first edition was developed to the multitude festival Smag Verden in Copenhagen. The installation was placed in a small half open shed with three headphones so more people could cooperate on choosing which sounds should be in their own composistion.
Lyt til Verden is the first branch on my interest in developing installations and performances based on field recordings. I’ll make new versions of this project in particular and theres also other stuff in development for the greater project Digital Nordic 2015/16.
The workshop where held from august 8th-16th 2013 at the artcenter MoKS in Mooste Estonia and investigated the local surroundings, old ruins and leftover spaces with the goal to appropriate objects and structures into building temporary sound installations.
Together with an extremely cosy, small group of dedicated sound artists I spent a week doing talks, temporary interventionist sound installations and even a spontaneous concert for the general public of Mooste. Among other things we turned two allmetal sheds from a pumping station at an abandoned land-fill area into a great guitar-based feedback system.
See a video from the workshop made by Juan Duarte here
Thanks to Kulturkontakt Nord and Eesti Kultuurkapital for funding, the MoKS crew for cooperation, shelter and general warmth and Juuso Paaso, Sirpa Jokinen and Juan Duarte for participating, cooking gorgeous meals and bringing life and content to the workshop.