| art.description.project | Invisible Sounds
A ‘stethoscope’ towards sounds unheard
Sound installation/workshop at the GAS-festival Gothenburg 22/10 2016
Concept and composition: Anders Hultqvist och Stefan Östersjö
Guitar - Stefan Östersjö
Sound system and programing - Per Sjösten
With the use of Fishing lines, a hydrophone, a guitar, ground vibrations and the solar wind we will try to capture and make visible some of the environmental sounds that affects our daily living milieu, and this largely without us actively noticing them.
The prolonged strings (7meters) mounted on the guitar captures tonal movements in the wind, while the hydrophone can enlarge the sound milieu mostly hidden in the river. The ground vibrations caused by traffic is there as well as the solar wind by which important parts of our electromagnetic environment is created. (All together this adds up to something that can be seen as a sounding content of what could be summed up in the concept of the four elements - Earth, Water, Air and Fire, or as they might be labelled today: Solid, Liquid, Gas and Plasma.)
The technical set-up of the installation allows us to record these sounds but the live-mixing of the sound sources is essential here. The installation is built on a concept of participation. The guitarist Stefan Östersjö is interacting with the installation through playing, using different techniques, on the aeolian guitar.
One of the exploratory targets of the workshop is to highlight and make ‘visible’ factual soundings and by that maybe put a question mark around visual predominance when measuring out our milieu.
Are these soundings affecting our way of relating to the environment in question? Can the produced sounds in some way expand our notion of what we define, and in every day life count, as our surroundings? Another question is if we by adding an aesthetic level in connection with these ‘natural’ sounds can further enhance the sense of nearness and acuteness in environmental relations? And what about the inherent quality of the different individual sounds with in the installation, are there any interesting new sound qualities to be found? Are there compositional strategies to be found within the structures in the field of sounds being laid out? These questions will be more thoroughly extrapolated in a forthcoming article, and let’s just end this short description with a quote from Salome Voegelin: “A sonic sensibility reveals the invisible mobility below the surface of a visual world and challenges its certain position, not to show a better place but to reveal what this world is made of, to question its singular actuality and to hear other possibilities that are probable too, but which, for reasons of ideology, power and coincidence do not take equal part in the production of knowledge, reality, value, and truth.” Salome Voegelin, Sonic Possible Worlds, Bloomsbury Academic, New York 2014, p.3 | sv |
