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Preparing for the installation



In Kristiansand I combined a layer using granulated delays and another one based on severely treated music by the late renaissance composer Jenkins for a setup of 7 loudspeakers. This combination apparently doesn’t work this time around. The layer based on Jenkins tends to slow things down and reducing intensity. The room used for this layer will be darker with more intense video projections than last time. It’s strange how the tendency keeps being that I’m removing more and more.

I’ve made another layer though: I’m running the recording of Jon Arne and Jeremy spray painting through a filter bank and a number of granular delays to be played back using four loudspeakers positioned at the windows of the brighter room. This creates a linear movement along the wall a sort of “sound stripe” similar to the visual stripes used by Jeremy and Jon Arne. The irregular rhythm of the recording (spraying – not spraying) works really well.

I’ve got a lot more clarity about how to approach physical movements and gestures in the project this time thanks largely to the reading and thinking I’ve been doing in the last couple of months. There’s a performative element in Jon Arne’s paintings indicating action movement rhythm and time but also irregularity and richness of information. A consequence of working on installation music is that the musician is abandoned as the mediator of the sound. For this project the physical actions of Jon Arne serve to make the resulting loss of performative musicality less difficult to cope with.

For some reason I find Trondheim noisy. The traffic noise is loud and everywhere. I’ve been playing sounds real loud in one of the rooms today and walked around the building to hear how much is leaking out. Once out of the gallery space I can hardly hear it for the traffic. I’m not sure there’s any real difference as compared to Bergen maybe it’s just me being to sensitive at the moment.


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