UNHEARD VOICES / GAIA-RESONANCE
DEWI DE VREE
Unheard Voices consist of seasponges, self-soldered electronic circuits, a lot of wires and a waterfountain. The squeezing of the sponges (connected with wires and filled with water) changes the sound-image. In the waterbassin an electric resistance builds up, which becomes directly audible by the interconnected sponges by changing the wire-connections, which are leading to electrical circuits. This means that by isolating one (or more) of the sponges, the sound will change also. Unheard Voices refers to the amplification of hidden (electrical) signals (making them audible) triggered by seasponges, the voice of nature, we are neglecting so drastically nowadays. I am playing with paradoxes like water and electricity and nature versus technology. This instrument can be played alone as well as in the collaboration.
Gaia-resonance is a collaboration with Dewi de Vree. It consists of an installation-based sound-performance in which physical and natural materials are used to generate and manipulate electronic sounds; water, sea sponges, stones and graphite are the variable resistors as part of self made electronic instruments.
Inspired by natural phenomena and the interaction between human, nature and technology, we are developing sound machines, instruments and sound-interfaces, in which electricity is handled as a raw material to make (electronic) sound. Central in our work, is experiencing the fine balance between the (un)predictability of the material and the (dis)control of the performer.
The instruments are low-tech, with open constructions and manipulated mostly in a very direct way. Sound and image are strongly connected: what you see is what you hear. Using natural materials like water, sea sponges, graphite, stone and our skin, we aim to demystify the technology in electronic music. Pouring or touching sea sponges drowned in water, drawing on paper, moving magnets and scanning a stone with a needle, are examples of actions taking place during the performance. By bringing back physicality and tangibility in electronic music we want to show the forgotten primal force behind electricity or electronic sound.
The performances of Gaia-resonance take place in an installation-based setting. For a moment the audience is immersed in an imaginary world which can be best described as an eclectic hybrid between a laboratory and a cave deep underwater or in the centre of the earth. As otherworldly creatures the performers take everyday objects and materials out of their context and thus give them a new meaning.
The sounds that are heard during the performance embody nature in all its diverse behaviour in micro- and macro cosmos and can vary from quietly or uncanny low-frequency and deep rumbling drones, to explosions of screaming and violently hissing ultra-high frequencies as sudden releases of energy.
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