Soundcheck, Room Service, Resting Circuits & Semla Med Varm Mjölk, a sound environment at Fylkingen, February 28th to March 1st, 2009 with Johannes Bergmark, Johan Boberg, Luc Kerléo, Tippi Tillvind and Sören Runolf.
The press release read:
How do sounds sound so differently depending on the way they are sent into acoustic spaces and environments and what are their relations to the visual environment? We generate sounds in different ways (from acoustic to digital synths) and spread them into spaces with different systems, thus creating a room of explorations in the unheard and unseen. A SOUND ENVIRONMENT constructed by ...
The exhibit was all set up in one day and open in two days, involving some musical sessions as well, with instrument setups at different stations in the different rooms at Fylkingen. It was maybe more of a cooperation than a truly collective event, but more a collaboration than a sum of individual installations. Bergmark, Kerléo and Tillvind had collaborated on an earlier instant (Damplifly), and the experiences from that event was expanded with the new addition of Boberg and Runolf. The sounds were connected to a system by Kerléo which sent them around between the different rooms and also played with very long delay times. Some factors were adjusted during the opening times and also in some interaction with the visitors. After the exhibition, each one of us responded to an enquiry in order to collect and communicate the experience as an experiment.
Left: Johan Boberg's installation in the entrance room with a metal sheet construction that works as a loudspeaker membrane, and Fylkingen's Buchla analog modular synthesizer from the 1960s.
Johan Boberg's hidden equipment with a Clavia Micro Modular and amplifier, that sent out occasional sounds into the foyer.
Left: Tippi Tillvind's electro-acoustic wind mill.
Sören Runolf's video installation with the king's christmas speech (acoustically distorted) in a box in the foyer.
Left: Plastic foil installation in the hall by Bergmark and Tillvind, powered by the ventilation system and partly amplified.
Luc Kerléo adjusting the PD (Pure Data) patches of sound distribution and disturbance.
Johannes Bergmark's Tape Loop installation with his mother Birgitta Bergmark's two old Uher interview recorders, one continuously recording the other in front of its loudspeaker.
Left: Metal foil installation in the hall by Bergmark and Tillvind, likewise powered by the ventilation system and partly amplified.
A box in a string making audible feedback sound by feeding back the vibrations in the box via a contact mike, to the top of the string via another, which works as a loudspeaker (no big loudspeaker involved at all), by Johannes Bergmark.
Closeup of Tippi Tillvind's instrument setup, with the circuit-bent Barbie Doll looking up between the Clavia Micro Modulars.
Left: Paper roll installation in the hall by Bergmark and Tillvind - again powered by the ventilation system and partly amplified.
Johannes Bergmark's instrument setup in the foyer.
Left: Sören Runolf's instrument setup in the foyer, displaying a virtual modular patch on the screen and a rack Nord Modular in the front.
Johannes Bergmark's instrument setup in the hall (played by Tippi Tillvind here).
Left: Sören Runolf's instrument setup in the hall with a 78 rpm gramophone and other mysterious boxes.
One of the music sessions in the foyer (N; SR; JB; LK).
Left: Semlas in the fridge.
Updated the 23rd of July, 2012.