Release Party for Interferences by utrumque

Release party for Interferences by utrumque.
Wednesday the 25th of September.
Restaurang Landet, Telefonplan.
Cassettes available for purchase.
Free entrance.
www.utrumque.com

20:00 DJ kliin
21:00 White Mountain Bells by Jonas Holmer & Fredrik Hedvall
21:30 Sol Andersson
22:30 Utrumque


kliin

kliin (Krzysztof Karlsson) is a DJ and club promoter active in the Swedish ambient/electronica and underground techno scene.


Jonas Holmer & Fredrik Hedvall

Fredrik & Jonas have been collaborating under various guises within the audiative and visual field since the early 2000s. 'White mountain bells' illustrates their mutual interest of experienced human reality and how passages of time can revolve and be manipulated.


Sol Andersson

Sol Andersson is a Stockholm based composer/artist. The voice is no longer the main instrument although it played a crucial part in the beginning on her musical journey. When introduced to the analog 4track portable recorder in the early 90s it got possible to explore a world beyond mixtapes. Coming from a background of choir singing and classical training it was also a great introduction to start using the voice for another purpose than traditional singing. The techno scene exploded in Sweden around this time and had a huge influence the following years. As part of music constellations such as Ana International Penetrator, Sowl and Noisebud she was given the opportunity to experiment and mix elements from different electronic music genres. She is a mixture of interests and influences such as art, philosophy and politics.


utrumque

utrumque is an artistic and scientific collaboration between Gerhard Eckel and Ludvig Elblaus. As an independent entity, affiliated with several academic institutions, it is deeply submerged in contemporary artistic practice, and concerned with materiality, listening, and experience.

The Interference Project is an exploration of co-created and shared experiences of acoustic feedback, from subtle to rumbling, from flickering resonances to long form drones. By using custom audio software combined with site specific loudspeaker and microphone setups, audio installations are put in place. The installations evolve slowly over time and react to the visitors through the dampening of the resonances in the room caused by their presence. This makes the pieces not only site specific, but hyper-localized within the space, as all visitors will have a unique perspective.

Furthermore, the very act of exploring the pieces has the possibility to alter the experience for everyone else present. Once set up, the installation also offers Eckel and Elblaus real time control of the software to the point of being able to play the room as an electro acoustic concert performance. The audience can either sit and listen or engage by moving around the room to continuously interfere with the performers' emerging tuning of the room.

The project is therefore an exploration of structures of control and power in interactive installations. In an attempt to challenge the pervasive model, where the designer of an interactive system clearly defines the possible outputs and exposes them to the visitor through some vocabulary of actions, Interference is about giving all participants a more equal footing. By allowing the audience to directly manipulate the same material as the performers, albeit by different means, a heightened sense of presence can be reached. In this way, the physicality of the room and the bodies acting within it is highlighted, working against the traditional electro acoustic tradition of neutral spatialization where the room ideally is made to be invisible, moving towards the traditions of acoustic music where one always has to take the room into account.