Thanks for the introduction. I think I would like maybe just explain what I would like to do. I mean, I have prepared a lot of videos, so I think best is to start with the videos, and if there are any questions after the videos, we can talk or not. Or I just talk. So it's not like talking now and in the end are questions. I would like just to have everything open and to create a more organic situation. Yeah, I think I just start with the first video. It's a sound installation. And yeah, you will see what's happening Norske Rundforskning ✔️ Follow me, share and subscribe! ✔️ My other videos are also on the channel! ✔️ See you next video! ✔️ ✔️ ✔️ Amore. I am going to make a small hole in the light of the world. I'm sorry. Thank you. Okay, maybe I should stop here. Are there any questions? I mean, was it clear what's happening, more or less? It's always interesting to me. All the works are clear. That's cool. Maybe I just explained, like all the works are clear. It's cool. Maybe I just explain like the first one is like it's I mean this is obvious like just a fan and I took off all like the plastic part around the motor and What makes the whole thing shake is like you see it in the end. It's like this small You know thing here, that's why everything is shaking. Sorry? Unmucht, exactly, yeah. And it's creating this. In the end, you mean? In the end, you mean? This one? Yeah, yeah. No, it's... Yeah, you never know what's happening because it's like too many information coming, you know. Sometimes it's like just... Yeah. A lot of interesting layers and yeah the sound of the motor itself you can't hear actually it's too loud around I mean you could put like a microphone on it and use it as well but it's not in this case it's like a microphone on it and use it as well, but it's not in this case. No, it's like a normal, like a fan, you know, it's like electric motor. It's nothing specific. It's like just used in a different way. Like just extended fan, maybe. This one. This one. You mean this one or this one? Yeah, it's, I mean, this is based on feedback. Yeah, but it's moving inside boundaries. You said. Like in these two. I don't know if you can see it, but there are speakers inside. Like the contrast is not, you can see here are speakers inside. There are a lot of speakers, like the contrast is not, you can see here are speakers inside. There are a lot of speakers, like 27. And the speakers and the microphones are creating a feedback. And each microphone is connected to three speakers, I think, if I remember well. And this is a paper, it's not plastic. Maybe it looks like plastic, but it's paper. It's like just, it's cutting the feedback in between the microphones and the speakers. That's it. But here you can hear like the fan. Here you can see here the fans as well the base of the wind. I was wondering about the activation of the flutes in the tunnel because there was just a small little tube thing. Is this enough activation of the flutes in the tunnel, because there was just a small little tube thing. Is this enough to activate the flutes? No. No, but actually, okay, that's good that you asked this. Because basically it's here. This is from where the wind comes from. Like outside there, you have like this big tube here and outside you have a kind of how is this calls site and cannot second canal for this term I don't know how of air. Yeah, yeah, yeah. There's a little less pressure on the side arm, right? If there's something flowing, then there's a little less pressure. Yeah, like the machine is a kind of, it's not a compressor. It's like the machine you use for the swimming pool, for example, to have the bubbles. So it's a lot of air, but not so much pressure, basically. However, this goes into into this cube or like this uh yeah transparent uh thing and inside you have the motors three motors and they are cutting the airflow so it's not playing continuously but it's like just you have like three different speeds. So it's like the soundscape is changing all the time because the patterns are changing all the time. So this is like how the sound in the beginning is produced. So it's a sound installation itself. So you don't need humans there to activate it. But as this sound installation was like was connecting two places, this is in Salzburg, it's connecting two parks like you can go out here and the other way around you can go in. And so if people walk on the flutes, but of course they have to step on the right spot. This was like also like a bit interesting that people are jumping around like, oh, there is no effect. I mean, if you play a flute and you do random stuff, it's also no effect. It's just interesting to see as well. Once they use the feet, everything is different. OK, that's interesting. But yeah, of course, if you really step on it and close the holes, of course, because otherwise because otherwise yeah it's like playing a flute so yes it's you can influence the overall sound but the sound production comes from this machine like this side channel I don't know how you say in English like yes I Seidenknaufdichter. Yeah it comes from outside and it's it's go through the tubes to all these 70 flutes. That's the yeah it's kind of interactive half semi interactive sound insulation would say and yeah this is a lot of flutes here yeah in the beginning and this I mean this is more maybe more obvious no like the the big balloon is playing the activating the flutes and that's it Like a rotating speaker or it's like you're stood there in the room, the frequency will be shifted by the rotation of the whole thing twice. Yeah. But it would be like a beating in itself, right? Also, if it's still to the same- Yeah, of course. Also because the speeds are different. So it's like always the reverb is also coming from a different spot and like it's always composed in a different combination somewhere in the space. So yeah, and the next one was like a kind of, I don't know, a version of it or but yeah maybe a version of it it was the same exhibition so more flutes this was outside and this was inside and here I don't know if you can see it yeah you can see it actually you can take out the flutes and put them wherever you want so you can also do like a flute DJ set if you want because you can put like this flute for example here DJ set if you want because you can put like this flute for example here or to another place you know this slot for example is free it's empty here so you can play with two flutes or all of them it's like also also like a kind of drum machine where you can also change the information like quickly but yeah I never did it like in this set of it's yeah just did it once as a sound installation I never did it like in this set of bits. Yeah. I just did it once as a sound installation. I really like this one because I think all of us do like a flute with PK. Sorry? All of us do a flute with PK. Ah, okay. For me, it's like fucking impossible to do it. So this is like perfect. What kind of flute? It works like every time. If you align it, it always hits this fault, right? In this case, it's more like you have the whistle mechanism at the mouthpiece. We also have that with only one hole, and then you blow at the hole. Yeah, that's more tricky, yeah. Like a perverse flute? Yeah, yeah, yeah. So let's use this one. It's easier. Yeah, if you put the design on the. Yeah, actually, playing flute, it's not that easy. I don't play flutes, but I work with flutes. And I understood, yeah, it's quite complex, because the pressure is everything. And I talked a lot with flute players, and they told me that they're just adapting the pressure with the fingers. If it's not the right pitch, they're just playing with the fingers to adjust all the time. It's so complex just to play one note, and you're always working somehow to fight for the right thing. You think it's because it's like so pure you get imperfection. Yeah, imperfection or like just yeah. But if you play alone it's not so important but if you play in an orchestra you have to be like super like it's quite a basic thing but super complex. I like it. That's why. I mean, yeah. When they're rotating, I don't know. I like them when they are rotating. You want to have a public shift to this one because every time there's a sound, it's like in the same spot, right? Yeah. That's the idea. Yeah. That's the idea. But yeah. Yeah. So if the idea. Yeah, that's the idea. But yeah. Yeah, so if you really fix it, and because there I just stick them into this slot, so sometimes it's changing. But if I would like to have like a perfect, like same repetition, I could just glue it and have the same, yeah. Yeah, and again, I can change the speed of every this is a kind of self-built turntables so I can change the speed yeah I can always adapt it like a sculpture I can always take out or take put more on top or take information out yeah flutes more flutes but I think there are, more flutes, but I think there are more flutes afterwards. More flute questions? So I go to the next, because there are more videos, much more. And this was also the same exhibition as before. I will play like three more videos, videos maybe and then we can talk again. It's the same fan as before from the first video. It's just a fan. There's nothing. It's just a fan. I'm sorry. Oh, that's a melodica. I'm off, Lutz. Amor flutes. SILENT PRAYER SILENT PRAYER Amin. Succes! SILENT PRAYER © BF-WATCH TV 2021 Sveta Kriva I am the light of the world. Yes. And I already forgot. Is this one flute per balloon? Yeah, one. yeah one yes so 18 flute I don't know 18 foods I think it was nine yeah elements and 18 flutes. How did the space influence the arrangement of the piece in general? This piece, like with the flutes and the... It was about architecture, actually, because, I mean, this is the Konzerthaus in Vienna, the Mozart Hall. I received this invitation to do something with this orchestra called FACE Ensemble. I don't know, I didn't want to do something like just on stage, like just there in front of the people. So I asked them if I can use the whole space. It was about the architecture, basically, because you can put the stuff wherever you want or you put it like here or you put it there. But there, I don't know if you see it, but like this is a whole structure underneath. You can just put it there. it's super like it's a lot of energy going on if it's rotating now so it was more like a practical thing to put it there and to to create the whole composition around this arrangement like this arrangement in space because the next thing is like that is this the answer to your question yeah because the next thing is about the okay I'm there was no question but I'm explaining the next thing is like how to structure the composition because like you have where you see it in the beginning, where are the musicians? You can see them here. Yeah, you have them everywhere, no? And of course it's impossible, for example the flute player there, she can't hear what is like other side of the room. So the concept of the composition was that each musician is connected or is reacting to one of these rotating elements. And at this, I mean I had to create a kind of whole organism that everything works together. So each musician is connected like sound wise to each element and then on stage you had like one violin player who is directing the whole ensemble as well. And this because it's actually impossible to have like a timeline to say like after seven minutes we play this or after eight because the flutes you don't know what, I mean you know more or less when it's over and you know how it goes more or less but you don't know because if you overblow a flute for example you have a different pitch than if it's played you play in a normal mode so what's happening even without musicians you have a lot of steps in between it's playing and you don't know when this is happening, so you have to create a system that everybody's free, but not, you know, at the same time to have a time frame, and within this time frame you have a kind of freedom so that everything comes together. So basically I would say the installation is a composition itself. Even if you just activate it as a composition itself, and then you have to think a composition on top of the composition. That was the extended answer to your question before. Yeah this was recording from the final rehearsal. The one before I don't remember what I showed before. I forgot already. I mean, it's very obvious, no, what's happening here. Or not. It's a melodica, and this is helium. And then it flies away. Was there an audience present at the presentation? Here? Ah, you can see the audience here. True. There was audience. Yeah, this was a festival in Germany, Czech border. I didn't know if it will work. There was not enough budget to have a test. There was the audience and the idea and it worked. It was a festival. Should we go on with the next? Yes, that's good. Good next. Good transition. L'esprit de l'esprit © transcript Emily Beynon I am going to use a brush to paint the background. ¶¶ I am going to of the world. I'm sorry. Thank you.......... I don't know. Nå er det en av de fleste stående stående i landet....... GONG I'm sorry. Nå er det en hel del av denne filmen som er på veldig stor nivå. I'm sorry. SILENT PRACTICE Yes. Questions? Well, three works now, they are quite complex, each of them. Let's use the microphone. The questions that people at the streaming can also listen to us. I wanted to ask if there is obviously a highly compositional intention in the sense that it's create. In general, no. In general, I would say obviously there are different types of intentions, I would say, but there is a compositional intention. So it's not just creating the machine, but you want to create some kind of music around it. Around, I wouldn't say. Yeah. Okay. Yeah, in the sense of that the system also composes the structure of the work, right? Like when you are building the machines, kind of you are also composing somehow the behaviors and let the machine compose itself we can discuss about it you have a very different interpretation than mine but I wanted to ask you between the two possibilities that I have seen in your work, that is like leaving the machine alone to create the work. So to say, for example, like beginning the drums, so to say the system, they are playing alone. And then when you integrate the human aspect, like how to make everything work together. Yeah, because it's a really subtle thing. Like, if the humans would be doing a different thing, working in a different way, probably they would not fit completely in the way your systems actually need to work. I mean, I don't want to say exactly what I want to say to you. It's probably too far away from your intentions. I want to hear actually what your response is to that. Like the difference between working alone and when in the moment you include the human in your compositions, artworks, how you want to call them? I would say that sometimes the machine doesn't need the human being anymore because it's already done. And sometimes I feel that musicians can add something or extend the thing. I wouldn't say I start from the concept of the machine. It can also be like a musical idea, and then the musical idea needs something, sometimes not. I think there is nothing in the beginning. It's just the idea, maybe a clear idea, and to find out what is possible, actually. In general, I think it's important to have everything at the same level all the time that it's one thing it's not like the sound or the composition or the installation or I don't know it's like to me it's everything it's one and yeah maybe in the center is like just the idea like or like to know when it's done maybe that's the thing because like the first one like the drums I mean I even don't know what people ask me to hear maybe the second drummer why I mean why why I don't understand why but for example like the flutes in the concert hall, like with the rotating flutes and the balloons. To me it was important because like to add like, there was also a choir, I did different versions also with a choir, not only with the orchestra, because the choir or the musicians, they can do something the installation can't. They can play loud, they can change the dynamic at any moment. The installation, no, you can't go there and you know can change the dynamic at any moment they still you know you can't go there and you know it's just not possible so it's like another layer it's not like just to have like okay now we are playing we have musicians and yeah because I don't know for no reason it's a reason the reason is like that that they can change the dynamic and they can change the color whenever they want or I want. And yeah, I mean, I think in general it's like the last one with the trumpets, it's like the sound, the installation itself, the machine itself doesn't make any sound. So, but it's like a kind of, I don't even know how to call this. It's like just a machine that where trumpet players, it's like just a machine that were trumpet players it's it's activated by musicians without I mean of course if you because like the tubes are like these tubes you see over there like this for the air condition of course you have the resonant of the tubes itself but I don't need like this big machine to you know there's so it's it's it's made for to trumpet players and, there's, so it's made for two trumpet players, and so there's, yeah. Yeah, it's a human turntable, this was the, yeah. I think the second part was more like concerts, right? The first part you showed were like exhibition, on exhibition. And the later part was concerts, right? I think you saw there's an environment to react to the trumpet players on the building. I think they were starting with like an arpeggio. They were playing sheet music, right? There was like a composition in front of them. Even in the concert hall, there was composition, right? There was sheet music. Yes. They were starting with an arpeggio, but somehow also reacting to the acoustic of this whole setup. The first one. The echoes and the dance. Yeah, it's interesting because the first one was really was like situation and site-specific composition because it was in Lithuania, in Vilnius, and they invited me. It was architecture, I don't know, open house. We have this here as well. Open house festival, architecture. You can go into the houses that are normally closed. And yeah, I had the possibility to work with this building. And I had this idea, okay, I will write the composition and then they stay up there and they play and when I arrived there you couldn't hear anything because it was it was too loud everything was too loud i prepared something super fragile and and impossible so i had to find something totally new and i mean if you say like working with the echo and so on okay this would be amazing even we have to stop the traffic and then we can talk about this but the situation was different I had to deal with the traffic and yeah I did it in the in the car yeah yeah yeah there was but yeah a fire truck passing. It reminded me of a Doppler shift, but they were stationary. Yeah, but this was in the end what happened. It's like to deal with the traffic because you can't control the traffic. The cars are there, so you have to explain to the musicians how to deal with it, when to play and when not. If there's traffic and you play, you can't hear anything. So the idea was you just play when there is less traffic and you don't play like dissonant sounds that are similar to it, but like totally opposite, like the sounds were like in the Alps, no? And also like the whole building without anything, if you can't see what's behind, it feels like stones or rocks or something. So the situation made me change the whole concept, like to have like this contrast of like having the bass from the cars down and then this open sounds on top because there was like on the the musicians were playing on top of the building and then the same level there was the park. So they were connected somehow and yeah that's was like um yeah so in this case the situation or the architecture made actually the composition made me yeah uh do this uh concept concept. Yeah, yeah, yeah, yeah. It was like, yeah, yeah, exactly, yeah, yeah, like in the natural overtone tones, like in the ups, like if you play the up horn, you only have, yeah. Yeah. I feel there is a question, so that I'm... Or not. I wanted to say something, but I forgot. Like the last one with the Trump, because I have to check the time. Okay, we have 10 minutes. Because there are a lot of videos. And now I'm not sure because like the last one with the trumpets, I made like a vinyl out of it, a release. This was like live recording. And there's another version like where we recorded for one day, I think, like a lot of material. And then I edited the whole sounds again. So it's not like playing two trumpet plays, but six, because you can add as much as you want on the computer. That's the good thing. I don't know if I should play one of these tracks, or I just should show more works, up to you. should show more works up to you. More works, OK. No trumpets. I don't know what's next. Let's see. More trumpets?... I'm sorry. Thank you. I think this is the wrong video. I skipped this one. I mean, there were short videos, but maybe because there's a lot of... I think I should talk about this. This one is... How many Austrians are here? Some, okay. Somebody knows about folk music? Of the Autobahn Polka? You know it? Yeah, okay, cool. Because this one is called Under the Highway Bridge. If you don't know the song it's a bit it's highly uh conceptual this was a festival in salzburg and the idea was like to deconstruct like this song this polka i would like to play it yeah whatever it doesn't matter uh And the idea was like, how you call them, the whippers, they're deconstructing like a DJ the whole traditional song. So every time that he's hitting, they are like jumping from like in the composition backwards or forwards. And that's, yeah, that was basically the idea. Because when I, then what did me, I listened to this song in this Oktoberfest situation, and I thought, yeah, that's perfect. There's the bridge, and again, like the situation made this thing, made the composition, this thing made the composition basically. And the other one, super difficult, super, super cold for the trumpet players as well. Super hard for them to play because they were like 100 meters away and the, I mean the trumpet is a loud instrument but like super difficult to play with the distances, actually. And these are so loud. It's wow. Actually, in the beginning, I wanted like six of them. But then I had to take out half of them, because it was impossible to hear the trumpet players. But this you don't know before, because it's so huge space. And you don't have, again, no rehearsal time because, yeah. No. So there's like this tradition in our post-grad on the 1st of January. Every year, you can see those those even with big guns and trumpet players on Kometade. First of January, I think it's- Okay, but it's the same sound or like similar- Yeah, it's like the same setup. Yeah, yeah, the same setup. The trumpets up on the tower and whips and. Yeah, it's always interesting to find out. I mean, there are so many things to think about you don't know. I mean, they also need space not only in front, but also behind, so you can't put them, you know. It's really interesting to try things in specific spots, actually. And the other one was with this. Okay yeah this is not so much to talk about. Yeah but there was a composition for this Lumberjack thing. And this one we saw already before in another video and I mean I don't know if it's obvious but like this one is not centered that's why it goes left and right and yeah out of this there was like this invitation to do a sound installation this is in Krems at the yes Yes, exactly. I have a question. It is about the element of time in your work, because I think what all of your works have in common is that time plays a very important role. So a lot of this poetic atmosphere is because it takes time to build up. And also I wonder about documentation. We talked before your talk, because we know each other for quite a while. And I know that it's hard to... We talked about this, that today the videos for Instagram, for example, are very short, like 10 seconds. And when we had an exhibition years ago, then the videos were much longer, and still they are not long enough to show the whole dimension of your work. So how do you deal with this documentation issue? Hmm, good question. It's always changing and challenging because every work is different. Sometimes you can do it in 10 seconds, and sometimes it's always changing and challenging because like every work is different sometimes you can do it like in 10 seconds and sometimes it's just impossible like I mean this one you can't I mean it needs time at least 30 seconds because it's even it needs 30 seconds to go from left to right you can accelerate but then it's I mean it's I don't know it's like I think like that every work I would treat it I would treat every work differently, but in the first place, I would try to make it as short as possible so that everybody can understand in a second. But it's a work itself, because you have to work on the work. But I don't know. I think it's super important because this is so much work all the time like for example this one this is all made of concrete this was like and in it's not like I mean if it would be full concrete would be like at 1000 kilo or more thousand three hundred kilos or something your cons move it and you need also electricity inside so it's like specific you have like walls like this like two three centimeters and in inside it's and it's empty this is so much work just to build like how you call this the yes exactly and then it stays there for I I don't know, some two months. And if you don't have any documentation, I mean, you need it. You need it somehow. And even this one is super short, the documentation of this work. I don't know. Yeah, I don't know. I think it's important for visual arts in general to have good documentation, because if it's a concert, yeah, you play again and again and again. But yeah, it's too much work. Yeah, that's... But I don't know. It has to be done. But I don't know. We talked about it before. I mean, like, 10 years ago, we had documentation for this one. I would show, like, about it before. I mean, like 10 years ago, we had like documentation for like this one. I would show like maybe it would last like now four minutes or zero. And now it feels like 20 seconds is already too much for everybody. I saw this like also like younger people when they check installations because it was about the sound, perception of sound. Like I did this installation with the fans mini kits yeah I showed with you it's super it needs a lot of it's also with fans and guitars and needs a lot of time a lot of time some 30 seconds to understand in what's going on and I saw I observed like it was a festival in the Netherlands of the guy who was was just doing Instagram stuff. And I showed him the work. And he was like, after the three seconds, hey, I understood. It was like, how? This is impossible. Even if it's impossible. I don't know. And I think half of the people would react the same way. Because if everything is super fast, and you have something that needs time, I don't know. That's why I think it has to be somehow like visually interesting that you feel like, okay, it needs more time to understand. I think this could maybe, could be some, I don't know, like I wouldn't say solution because we don't have to adapt to this, but could be a way like to get people closer And then yeah I'm afraid we don't have time for more questions But I'm curious maybe like just this question yeah yeah like what's your process of like yeah so i wanted to know like how do you approach a process of prototyping for this because it's a large scale and it's multiple so do you start from one and then you multiply? Yeah that's an easy question, there is no prototype. It's like just doing it like the first time, like the thing with the bridge, it was like really we had to rehearse like 30 minutes before the concert like just and I would say like 90% is no prototype like with the trumpets I build it up this was in Berlin for the first time like one hour before the concerts and this was there is just no budget for it that's it I mean if you have like the super big... But even though I did like something in Sao Alves, I don't know if you know, like the museum in Portugal, it's the biggest museum for contemporary art in Portugal. I mean, there it was possible. You have two weeks, you build it up, and for everything, you know, everything you need, there's somebody who fix it, you know. But this is like just how many places you have. Or just don't do it or you just risk it and I don't know or you just play all the time with the same museum or I don't know yeah it's a lot of yeah super risky but prototype The flute one was, I guess, there must be many prototypes of the flute. Sorry? The flute. Which one? The air, automated air. Oh, with the pipes? Yeah. Yeah, this was like, there were no prototype at all. This was really, really, this was like one day before. I didn't even know if it would work. Because it's a lot of tubes, it's like 300 meters, and where you should try this. And even if you try it, it's there, it's different. I didn't know before. I just really didn't know. This was really tricky because it was like, from the city of Salzburg, it was like, they asked me to do it, and I felt super responsible, and it was like, I don't know if it works. And I turned on the machine one day before the opening, and it was like, oh,'t know if it works. And I turned on the machine one day before the opening. It was like, oh wow, it's working cool. So for me, those were like, all the surprising. It sounds like really improvised and also like really conceptual. At the same time, like an improvised concept or? Yeah, you have to eliminate, yeah, you have to take away all like the things that, yeah, couldn't work maybe. That's the thing thing and more and more every time you risk more maybe or like I don't know because otherwise yeah you can't you couldn't do this all like a lot of work you just couldn't do it's like just you can plan it and if there would be like 10 times more work and 10 times more budget you can do every and if there would be like 10 times more work and 10 times more budget, you can do every, but then there would be less time for other projects. So even, I don't know if I want more time for it. So I don't know. Yeah, I think it's, um, yeah. Well, the good thing is that we are having Andreas performing tonight at seven in Stadbogstad. So I think, you know, uh, I think the concert perfectly will complement probably this guest lecture. Thank you very much, Andreas, for coming and having this beautiful guest lecture. And yeah, so a couple of hours. Great. Thanks.