{"id":6898,"date":"2019-10-11T16:09:33","date_gmt":"2019-10-11T13:09:33","guid":{"rendered":"https:\/\/eero.storijapan.net\/docfolio\/?p=6898"},"modified":"2019-10-11T18:49:30","modified_gmt":"2019-10-11T15:49:30","slug":"20191011-2","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/20191011-2\/","title":{"rendered":"20191011"},"content":{"rendered":"

Subscribed to Kusksu a mailing list for sound-art<\/a> and spotted “Radigue” at Space for Free Arts curated by MIF<\/a>. The event was a part of \u00c4\u00e4nen Lumo and offered performances by Clara de As\u00eds & Lauri Hyvarinen, Enrico Malatesta and Thomas Ankersmit. Maletesta played Occam XXVI a composition by \u00c9liane Radigue, which uses two bowed cymbals and a frame drum. The bow agitated the cymbals, forming drones and their resonation transferred between the plates over air. Occasionally Malatesta hover a drum membrane over the cymbals to pickup and amplify low tones. He used sound to play sound over air!<\/p>\n

Ankersmit performed “Perceptual Geography” (sample on soundcloud)<\/a>. It was really rewarding to see a serge modular live on stage. There were moments when it felt like he was playing every conceivable sound the same time. He was very loud and the performance was punctual. The execution of the piece felt like an academic study of noise. We were presented with tonal structures and spaces. They appeared abruptly, evolved and then suddenly crashed. It felt like the tones referred to nature. I couldn’t identify what I was listening but I could imagine hearing similar tones in a forest. I only recognize occasional square wave pulses in the beginning and the end of the set.<\/p>\n

The piece is based on Ankersmits research on sound artist Maryanne Amacher. Particularly on her work concerning psychoacoustic phenomena and sound spatialization (recently popularized on youtube<\/a>). During the gig I had the urge to tilt my head, so that I could avoid pain caused by a harsh drone tone. As I turned my head I felt a melody ringing inside my skull. I noticed other audience members bobbing their heads too. The experience was similar to the tingling which high resonance filter sweeps can cause. But this experience was more articulated, like an overtone melody<\/a> which was forcefully positioned inside my head. The experience was a result of sound spatialization and this was the first time I hear it. I didn’t know it is possible to manipulate the spatial perception of the audience to this extent, let alone intentionally as a part of a performance!<\/p>\n","protected":false},"excerpt":{"rendered":"

Subscribed to Kusksu a mailing list for sound-art and spotted “Radigue” at Space for Free Arts curated by MIF. The event was a part of \u00c4\u00e4nen Lumo and offered performances by Clara de As\u00eds & Lauri Hyvarinen, Enrico Malatesta and Thomas Ankersmit. Maletesta played Occam XXVI a composition by \u00c9liane Radigue, which uses two bowed … <\/p>\n

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