WEBVTT

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 Thanks for the introduction. I think I would like maybe just

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 explain what I would like to do.

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 I mean, I have prepared a lot of videos,

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 so I think best is to start with the videos,

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 and if there are any questions after the videos,

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 we can talk or not.

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 Or I just talk.

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 So it's not like talking now and in the end are questions.

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 I would like just to have everything open

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 and to create a more organic situation.

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 Yeah, I think I just start with the first video.

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 It's a sound installation.

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 And yeah, you will see what's happening Norske Rundforskning ✔️ Follow me, share and subscribe! ✔️

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 My other videos are also on the channel! ✔️

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 See you next video! ✔️

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 ✔️

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 ✔️ 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.

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 Are there any questions?

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 I mean, was it clear what's happening, more or less?

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 It's always interesting to me.

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 All the works are clear.

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 That's cool. Maybe I just explained, like all the works are clear. It's cool.

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 Maybe I just explain like the first one is like it's I mean this is obvious like just a fan and

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 I took off all like the plastic part around the motor and

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 What makes the whole thing shake is like you see it in the end. It's like this small

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 You know thing here, that's why everything is shaking.

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 Sorry?

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 Unmucht, exactly, yeah.

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 And it's creating this.

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 In the end, you mean?

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 In the end, you mean?

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 This one?

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 Yeah, yeah.

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 No, it's... Yeah, you never know what's happening

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 because it's like too many information coming, you know.

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 Sometimes it's like just...

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 Yeah.

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 A lot of interesting layers

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 and yeah

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 the sound of the motor itself you can't hear

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 actually

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 it's too loud around

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 I mean you could put like a microphone on it

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 and use it as well but

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 it's not

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 in this case it's like a microphone on it and use it as well, but it's not in this case.

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 No, it's like a normal, like a fan, you know,

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 it's like electric motor.

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 It's nothing specific.

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 It's like just used in a different way.

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 Like just extended fan, maybe.

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 This one. This one.

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 You mean this one or this one?

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 Yeah, it's, I mean, this is based on feedback.

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 Yeah, but it's moving inside boundaries.

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 You said.

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 Like in these two. I don't know if you can see it,

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 but there are speakers inside.

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 Like the contrast is not, you can see here are speakers inside.

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 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.

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 And the speakers and the microphones are creating a feedback.

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 And each microphone is connected to three speakers, I think, if I remember well.

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 And this is a paper, it's not plastic.

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 Maybe it looks like plastic, but it's paper.

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 It's like just, it's cutting the feedback in between the microphones and the speakers.

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 That's it.

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 But here you can hear like the fan.

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 Here you can see here the fans as well the base of the wind.

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 I was wondering about the activation of the flutes in the tunnel because there was just

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 a small little tube thing. Is this enough activation of the flutes in the tunnel, because there was just a small little tube thing.

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 Is this enough to activate the flutes?

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 No.

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 No, but actually, okay, that's good that you asked this.

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 Because basically it's here.

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 This is from where the wind comes from.

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 Like outside there, you have like this

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 big tube here and outside you have a kind of how is this calls site and cannot

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 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?

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 If there's something flowing,

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 then there's a little less pressure.

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 Yeah, like the machine is a kind of,

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 it's not a compressor.

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 It's like the machine you use for the swimming pool,

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 for example, to have the bubbles.

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 So it's a lot of air,

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 but not so much pressure, basically.

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 However, this goes into into this cube or like this

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 uh yeah transparent uh thing and inside you have the motors three motors and they are cutting the

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 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.

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 So this is like how the sound in the beginning is produced.

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 So it's a sound installation itself.

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 So you don't need humans there to activate it.

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 But as this sound installation was

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 like was connecting two places, this is in Salzburg, it's connecting two parks

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 like you can go out here and the other way around you can go in. And so if

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 people walk on the flutes, but of course they have to step on the right spot. This

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 was like also like a bit interesting that people are jumping around like, oh, there is no effect.

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 I mean, if you play a flute and you do random stuff,

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 it's also no effect.

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 It's just interesting to see as well.

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 Once they use the feet, everything is different.

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 OK, that's interesting.

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 But yeah, of course, if you really step on it

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 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

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 overall sound but the sound production comes from this machine like this side

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 channel I don't know how you say in English like yes I Seidenknaufdichter. Yeah it comes from outside and it's it's

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 go through the tubes to all these 70 flutes. That's the yeah it's kind of

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 interactive half semi interactive sound insulation would say and yeah this is

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 a lot of flutes here yeah in the beginning and this I

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 mean this is more maybe more obvious no like the the big balloon is playing the

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 activating the flutes and that's it Like a rotating speaker or it's like you're stood there in the room,

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 the frequency will be shifted by the rotation of the whole thing twice.

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 Yeah.

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 But it would be like a beating in itself, right?

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 Also, if it's still to the same-

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 Yeah, of course. Also because the speeds are different.

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 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,

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 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

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 more flutes this was outside and this was inside and here I don't know if you can see it yeah you

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 can see it actually you can take out the flutes and put them wherever you want so you can also

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 do like a flute DJ set if you want because you can put like this flute for example here

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 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

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 can play with two flutes or all of them it's like also also like a kind of drum

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 machine where you can also change the information like quickly but yeah I

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 never did it like in this set of it's yeah just did it once as a sound

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 installation I never did it like in this set of bits. Yeah. I just did it once as a sound installation.

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 I really like this one because I think all of us

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 do like a flute with PK.

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 Sorry?

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 All of us do a flute with PK.

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 Ah, okay.

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 For me, it's like fucking impossible to do it.

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 So this is like perfect.

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 What kind of flute?

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 It works like every time.

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 If you align it, it always hits this fault, right?

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 In this case, it's more like you have the whistle mechanism

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 at the mouthpiece.

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 We also have that with only one hole,

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 and then you blow at the hole.

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 Yeah, that's more tricky, yeah.

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 Like a perverse flute?

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 Yeah, yeah, yeah.

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 So let's use this one.

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 It's easier.

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 Yeah, if you put the design

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 on the.

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 Yeah, actually, playing flute, it's not that easy.

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 I don't play flutes, but I work with flutes.

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 And I understood, yeah, it's quite complex,

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 because the pressure is everything.

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 And I talked a lot with flute players,

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 and they told me that they're just

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 adapting the pressure with the fingers.

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 If it's not the right pitch, they're

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 just playing with the fingers to adjust all the time.

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 It's so complex just to play one note,

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 and you're always working somehow

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 to fight for the right thing.

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 You think it's because it's like so pure you get

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 imperfection. Yeah, imperfection or like just yeah.

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 But if you play alone it's not so important but if you play

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 in an orchestra you have to be like super like

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 it's quite a basic thing but

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 super complex.

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 I like it. That's why.

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 I mean, yeah.

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 When they're rotating, I don't know.

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 I like them when they are rotating.

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 You want to have a public shift to this one because

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 every time there's a sound,

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 it's like in the same spot, right?

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 Yeah. That's the idea.

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 Yeah. That's the idea.

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 But yeah. Yeah. So if the idea. Yeah, that's the idea. But yeah.

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 Yeah, so if you really fix it,

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 and because there I just stick them into this slot,

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 so sometimes it's changing.

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 But if I would like to have like a perfect,

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 like same repetition,

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 I could just glue it and have the same, yeah.

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 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

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 adapt it like a sculpture I can always take out or take put more on top or take

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 information out yeah flutes more flutes but I think there are, more flutes,

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 but I think there are more flutes afterwards.

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 More flute questions?

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 So I go to the next,

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 because there are more videos, much more.

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 And this was also the same exhibition as before.

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 I will play like three more videos, videos maybe and then we can talk again.

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 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.

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 And I already forgot.

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 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.

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 How did the space influence the arrangement of the piece in general?

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 This piece, like with the flutes and the...

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 It was about architecture, actually,

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 because, I mean, this is the Konzerthaus in Vienna, the Mozart Hall.

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 I received this invitation to do something with this orchestra called FACE Ensemble.

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 I don't know, I didn't want to do something like just on stage, like just there in front of the people.

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 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.

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 But there, I don't know if you see it, but like this is a whole structure underneath.

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 You can just put it there. it's super like it's a lot

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 of energy going on if it's rotating now so it was more like a practical thing to put it there and to

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 to create the whole composition around this arrangement like this arrangement in space

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 because the next thing is like that is this the answer to your question yeah

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 because the next thing is about the okay I'm there was no question but I'm

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 explaining the next thing is like how to structure the composition because like

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 you have where you see it in the beginning, where are the

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 musicians? You can see them here. Yeah, you have them everywhere, no? And of course it's

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 impossible, for example the flute player there, she can't hear what is like other side of the room.

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 So the concept of the composition was that each musician is connected or is reacting

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 to one of these rotating elements.

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 And at this, I mean I had to create a kind of whole organism that everything works together.

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 So each musician is connected like sound wise

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 to each element and then on stage you had like one

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 violin player who is directing the whole ensemble as well.

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 And this because it's actually impossible to have like

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 a timeline to say like after seven minutes we play this

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 or after eight because the flutes you don't know what,

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 I mean you know more or less when it's over and you know how it goes more or less but you don't

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 know because if you overblow a flute for example you have a different pitch than if it's played

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 you play in a normal mode so what's happening even without musicians you have a lot of steps

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 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,

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 at the same time to have a time frame, and within this time frame you have a kind of freedom so that everything

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 comes together. So basically I would say the installation is a composition itself.

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 Even if you just activate it as a composition itself, and then you have to

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 think a composition on top of the composition.

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 That was the extended answer to your question before. Yeah this was recording from the final rehearsal.

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 The one before I don't remember what I showed before. I forgot already.

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 I mean, it's very obvious, no, what's happening here.

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 Or not.

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 It's a melodica, and this is helium.

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 And then it flies away.

233
00:25:40.799 --> 00:25:43.799
 Was there an audience present at the presentation?

234
00:25:44.099 --> 00:25:44.440
 Here?

235
00:25:45.000 --> 00:25:48.000
 Ah, you can see the audience here.

236
00:25:48.000 --> 00:25:49.000
 True.

237
00:25:49.000 --> 00:25:50.000
 There was audience.

238
00:25:50.000 --> 00:25:56.000
 Yeah, this was a festival in Germany, Czech border.

239
00:25:56.000 --> 00:25:59.000
 I didn't know if it will work.

240
00:25:59.000 --> 00:26:02.000
 There was not enough budget to have a test.

241
00:26:02.000 --> 00:26:08.579
 There was the audience and the idea and it worked.

242
00:26:08.579 --> 00:26:27.859
 It was a festival. Should we go on with the next? Yes, that's good.

243
00:26:28.539 --> 00:26:29.279
 Good next.

244
00:27:50.000 --> 00:28:10.000
 Good transition. L'esprit de l'esprit © transcript Emily Beynon I am going to use a brush to paint the background. ¶¶

245
00:35:01.440 --> 00:35:08.300
 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?

246
00:35:08.300 --> 00:35:10.000
 Well, three works now,

247
00:35:10.000 --> 00:35:13.000
 they are quite complex, each of them.

248
00:35:15.559 --> 00:35:17.599
 Let's use the microphone.

249
00:35:17.599 --> 00:35:21.440
 The questions that people at the streaming can also listen to us.

250
00:35:21.440 --> 00:35:23.760
 I wanted to ask if there is obviously

251
00:35:23.760 --> 00:35:28.000
 a highly compositional intention in the sense that

252
00:35:28.000 --> 00:35:29.000
 it's create.

253
00:35:29.000 --> 00:35:30.000
 In general, no.

254
00:35:30.000 --> 00:35:35.000
 In general, I would say obviously there are different types of intentions, I would say,

255
00:35:35.000 --> 00:35:37.000
 but there is a compositional intention.

256
00:35:37.000 --> 00:35:47.000
 So it's not just creating the machine, but you want to create some kind of music around it.

257
00:35:47.000 --> 00:35:49.000
 Around, I wouldn't say.

258
00:35:49.000 --> 00:35:50.000
 Yeah.

259
00:35:50.000 --> 00:35:51.000
 Okay.

260
00:35:51.000 --> 00:36:01.000
 Yeah, in the sense of that the system also composes the structure of the work, right?

261
00:36:01.000 --> 00:36:06.360
 Like when you are building the machines, kind of you are also composing

262
00:36:06.360 --> 00:36:13.679
 somehow the behaviors and let the machine compose itself we can discuss

263
00:36:13.679 --> 00:36:19.460
 about it you have a very different interpretation than mine but I wanted to

264
00:36:19.460 --> 00:36:29.159
 ask you between the two possibilities that I have seen in your work, that is like leaving the machine alone to create the work.

265
00:36:29.699 --> 00:36:33.880
 So to say, for example, like beginning the drums,

266
00:36:33.880 --> 00:36:37.440
 so to say the system, they are playing alone.

267
00:36:37.440 --> 00:36:40.119
 And then when you integrate the human aspect,

268
00:36:41.579 --> 00:36:44.340
 like how to make everything work together.

269
00:36:45.460 --> 00:36:47.380
 Yeah, because it's a really subtle thing.

270
00:36:47.380 --> 00:36:52.519
 Like, if the humans would be doing a different thing,

271
00:36:52.519 --> 00:36:54.280
 working in a different way, probably they

272
00:36:54.280 --> 00:36:59.860
 would not fit completely in the way your systems actually

273
00:36:59.860 --> 00:37:01.380
 need to work.

274
00:37:01.380 --> 00:37:12.000
 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.

275
00:37:12.000 --> 00:37:25.000
 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?

276
00:37:30.000 --> 00:37:31.000
 I would say that sometimes the machine doesn't need the human being anymore because it's already done.

277
00:37:40.000 --> 00:37:42.000
 And sometimes I feel that musicians can add something or extend the thing.

278
00:37:46.440 --> 00:37:52.800
 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

279
00:37:52.800 --> 00:37:59.179
 is nothing in the beginning. It's just the idea, maybe a clear idea, and to find out

280
00:37:59.179 --> 00:38:08.320
 what is possible, actually. In general, I think it's important to have everything at the same

281
00:38:08.320 --> 00:38:11.219
 level all the time that it's one thing it's not like the sound or the

282
00:38:11.219 --> 00:38:16.079
 composition or the installation or I don't know it's like to me it's

283
00:38:16.079 --> 00:38:21.880
 everything it's one and yeah maybe in the center is like just the idea like or

284
00:38:21.880 --> 00:38:27.039
 like to know when it's done maybe that's the thing because like the first

285
00:38:27.039 --> 00:38:33.980
 one like the drums I mean I even don't know what people ask me to hear maybe the second drummer

286
00:38:33.980 --> 00:38:48.099
 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.

287
00:38:48.099 --> 00:38:53.400
 To me it was important because like to add like, there was also a choir, I did different

288
00:38:53.400 --> 00:38:58.340
 versions also with a choir, not only with the orchestra, because the choir or the musicians,

289
00:38:58.340 --> 00:39:00.500
 they can do something the installation can't.

290
00:39:00.500 --> 00:39:04.800
 They can play loud, they can change the dynamic at any moment.

291
00:39:04.800 --> 00:39:05.039
 The installation, no, you can't go there and you know can change the dynamic at any moment they still

292
00:39:05.039 --> 00:39:08.699
 you know you can't go there and you know it's just not possible so it's like

293
00:39:08.699 --> 00:39:13.320
 another layer it's not like just to have like okay now we are playing we have

294
00:39:13.320 --> 00:39:17.579
 musicians and yeah because I don't know for no reason it's a reason the reason

295
00:39:17.579 --> 00:39:22.659
 is like that that they can change the dynamic and they can change the color

296
00:39:22.659 --> 00:39:25.519
 whenever they want or I want.

297
00:39:31.360 --> 00:39:37.440
 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

298
00:39:37.440 --> 00:39:46.300
 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

299
00:39:46.300 --> 00:39:50.880
 musicians without I mean of course if you because like the tubes are like

300
00:39:50.880 --> 00:39:55.719
 these tubes you see over there like this for the air condition of course you have

301
00:39:55.719 --> 00:40:01.019
 the resonant of the tubes itself but I don't need like this big machine to you

302
00:40:01.019 --> 00:40:07.420
 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.

303
00:40:12.420 --> 00:40:15.639
 Yeah, it's a human turntable, this was the, yeah.

304
00:40:15.639 --> 00:40:18.199
 I think the second part was more like concerts, right?

305
00:40:19.199 --> 00:40:28.179
 The first part you showed were like exhibition, on exhibition. And the later part was concerts, right?

306
00:40:28.179 --> 00:40:32.619
 I think you saw there's an environment

307
00:40:32.619 --> 00:40:40.800
 to react to the trumpet players on the building.

308
00:40:40.800 --> 00:40:43.079
 I think they were starting with like an arpeggio.

309
00:40:43.079 --> 00:40:44.619
 They were playing sheet music, right?

310
00:40:44.619 --> 00:40:46.059
 There was like a composition in front of them.

311
00:40:46.480 --> 00:40:48.619
 Even in the concert hall, there was composition, right?

312
00:40:48.659 --> 00:40:49.559
 There was sheet music.

313
00:40:50.760 --> 00:40:51.239
 Yes.

314
00:40:51.920 --> 00:40:53.920
 They were starting with an arpeggio,

315
00:40:54.179 --> 00:40:57.820
 but somehow also reacting to the acoustic of this whole setup.

316
00:40:58.880 --> 00:40:59.579
 The first one.

317
00:40:59.860 --> 00:41:02.480
 The echoes and the dance.

318
00:41:04.559 --> 00:41:06.059
 Yeah, it's interesting

319
00:41:06.059 --> 00:41:07.739
 because the first one was

320
00:41:07.739 --> 00:41:09.940
 really was like situation

321
00:41:09.940 --> 00:41:11.579
 and site-specific composition because

322
00:41:11.579 --> 00:41:13.460
 it was in Lithuania, in Vilnius,

323
00:41:14.480 --> 00:41:15.760
 and they invited me. It was

324
00:41:15.760 --> 00:41:16.519
 architecture,

325
00:41:17.800 --> 00:41:20.099
 I don't know, open house. We have this here as well.

326
00:41:20.199 --> 00:41:21.980
 Open house festival, architecture.

327
00:41:22.300 --> 00:41:23.519
 You can go into the houses

328
00:41:23.519 --> 00:41:26.280
 that are normally closed.

329
00:41:26.280 --> 00:41:33.719
 And yeah, I had the possibility to work with this building. And I had this idea, okay,

330
00:41:33.719 --> 00:41:40.400
 I will write the composition and then they stay up there and they play and when I arrived

331
00:41:40.400 --> 00:41:51.360
 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

332
00:41:52.000 --> 00:41:57.519
 and i mean if you say like working with the echo and so on okay this would be amazing even we have

333
00:41:57.519 --> 00:42:25.639
 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.

334
00:42:26.360 --> 00:42:29.019
 Yeah, but this was in the end what happened.

335
00:42:29.179 --> 00:42:30.539
 It's like to deal with the traffic

336
00:42:30.539 --> 00:42:32.340
 because you can't control the traffic.

337
00:42:32.599 --> 00:42:33.260
 The cars are there,

338
00:42:33.360 --> 00:42:36.820
 so you have to explain to the musicians

339
00:42:36.820 --> 00:42:38.420
 how to deal with it,

340
00:42:38.760 --> 00:42:39.840
 when to play and when not.

341
00:42:40.219 --> 00:42:41.500
 If there's traffic and you play,

342
00:42:41.579 --> 00:42:42.440
 you can't hear anything.

343
00:42:43.519 --> 00:42:47.079
 So the idea was you just play when there is less traffic

344
00:42:47.079 --> 00:42:52.119
 and you don't play like dissonant sounds that are similar to it,

345
00:42:52.239 --> 00:42:55.840
 but like totally opposite, like the sounds were like in the Alps, no?

346
00:42:56.420 --> 00:42:59.940
 And also like the whole building without anything,

347
00:42:59.940 --> 00:43:04.699
 if you can't see what's behind, it feels like stones or rocks or something.

348
00:43:05.079 --> 00:43:09.639
 So the situation made me change the whole concept,

349
00:43:09.639 --> 00:43:14.920
 like to have like this contrast of like having the bass from the cars down

350
00:43:14.920 --> 00:43:20.320
 and then this open sounds on top because there was like on the

351
00:43:21.159 --> 00:43:22.880
 the musicians were playing on top of the building

352
00:43:22.880 --> 00:43:24.920
 and then the same level there was the park.

353
00:43:24.920 --> 00:43:29.760
 So they were connected somehow and yeah that's was like um

354
00:43:31.599 --> 00:43:36.239
 yeah so in this case the situation or the architecture made actually the composition

355
00:43:36.239 --> 00:43:41.840
 made me yeah uh do this uh concept

356
00:43:41.000 --> 00:43:48.079
 concept. Yeah, yeah, yeah, yeah.

357
00:43:48.079 --> 00:43:54.380
 It was like, yeah, yeah, exactly, yeah, yeah, like in the natural overtone tones, like in

358
00:43:54.380 --> 00:44:00.300
 the ups, like if you play the up horn, you only have, yeah.

359
00:44:00.300 --> 00:44:07.360
 Yeah.

360
00:44:10.599 --> 00:44:11.039
 I feel there is a question, so that I'm... Or not.

361
00:44:16.980 --> 00:44:18.840
 I wanted to say something, but I forgot.

362
00:44:20.420 --> 00:44:22.119
 Like the last one with the Trump,

363
00:44:22.340 --> 00:44:24.179
 because I have to check the time.

364
00:44:24.280 --> 00:44:24.960
 Okay, we have 10 minutes.

365
00:44:25.340 --> 00:44:28.179
 Because there are a lot of videos.

366
00:44:28.780 --> 00:44:31.739
 And now I'm not sure because like the last one with the trumpets,

367
00:44:32.260 --> 00:44:34.420
 I made like a vinyl out of it, a release.

368
00:44:34.519 --> 00:44:35.920
 This was like live recording.

369
00:44:36.480 --> 00:44:41.619
 And there's another version like where we recorded for one day, I think,

370
00:44:41.699 --> 00:44:42.619
 like a lot of material.

371
00:44:42.739 --> 00:44:46.260
 And then I edited the whole sounds again.

372
00:44:46.260 --> 00:44:49.460
 So it's not like playing two trumpet plays, but six,

373
00:44:49.460 --> 00:44:52.059
 because you can add as much as you want on the computer.

374
00:44:52.059 --> 00:44:53.340
 That's the good thing.

375
00:44:55.659 --> 00:44:57.820
 I don't know if I should play one of these tracks,

376
00:44:57.820 --> 00:45:02.820
 or I just should show more works, up to you.

377
00:45:04.000 --> 00:45:08.280
 should show more works up to you.

378
00:45:09.199 --> 00:45:09.699
 More works, OK. No trumpets.

379
00:45:16.019 --> 00:45:17.059
 I don't know what's next.

380
00:45:17.059 --> 00:45:17.559
 Let's see.

381
00:45:23.559 --> 00:48:08.239
 More trumpets?... I'm sorry. Thank you. I think this is the wrong video.

382
00:48:08.420 --> 00:48:09.139
 I skipped this one.

383
00:48:11.639 --> 00:48:13.039
 I mean, there were short videos,

384
00:48:13.239 --> 00:48:16.340
 but maybe because there's a lot of...

385
00:48:16.340 --> 00:48:18.099
 I think I should talk about this.

386
00:48:19.719 --> 00:48:21.139
 This one is...

387
00:48:22.559 --> 00:48:24.179
 How many Austrians are here?

388
00:48:26.559 --> 00:48:27.440
 Some, okay.

389
00:48:28.579 --> 00:48:30.719
 Somebody knows about folk music?

390
00:48:32.119 --> 00:48:33.579
 Of the Autobahn Polka?

391
00:48:34.460 --> 00:48:35.300
 You know it?

392
00:48:36.659 --> 00:48:38.239
 Yeah, okay, cool.

393
00:48:38.239 --> 00:48:41.659
 Because this one is called Under the Highway Bridge.

394
00:48:43.420 --> 00:48:47.679
 If you don't know the song it's a bit it's highly uh conceptual

395
00:48:47.679 --> 00:48:57.119
 this was a festival in salzburg and the idea was like to deconstruct like this song this polka

396
00:48:58.159 --> 00:49:09.559
 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

397
00:49:09.559 --> 00:49:13.380
 a DJ the whole traditional song.

398
00:49:13.380 --> 00:49:19.039
 So every time that he's hitting, they are like jumping from like in the composition

399
00:49:19.039 --> 00:49:22.639
 backwards or forwards.

400
00:49:22.639 --> 00:49:27.920
 And that's, yeah, that was basically the idea. Because when I, then what did me,

401
00:49:28.119 --> 00:49:35.119
 I listened to this song in this Oktoberfest situation, and I thought, yeah, that's perfect.

402
00:49:35.119 --> 00:49:43.380
 There's the bridge, and again, like the situation made this thing, made the composition,

403
00:49:44.079 --> 00:49:45.840
 this thing made the composition basically.

404
00:49:50.840 --> 00:49:52.119
 And the other one, super difficult, super, super cold

405
00:49:54.099 --> 00:49:55.960
 for the trumpet players as well. Super hard for them to play because they were like

406
00:49:55.960 --> 00:50:00.960
 100 meters away and the, I mean the trumpet is a loud

407
00:50:01.320 --> 00:50:07.980
 instrument but like super difficult to play with the distances, actually.

408
00:50:07.980 --> 00:50:09.320
 And these are so loud.

409
00:50:09.320 --> 00:50:12.320
 It's wow.

410
00:50:12.320 --> 00:50:16.599
 Actually, in the beginning, I wanted like six of them.

411
00:50:16.599 --> 00:50:19.019
 But then I had to take out half of them,

412
00:50:19.019 --> 00:50:21.219
 because it was impossible to hear the trumpet players.

413
00:50:21.219 --> 00:50:24.400
 But this you don't know before, because it's so huge space.

414
00:50:24.400 --> 00:50:25.519
 And you don't have, again,

415
00:50:25.519 --> 00:50:26.940
 no rehearsal time because, yeah.

416
00:50:32.300 --> 00:50:32.800
 No.

417
00:50:32.800 --> 00:50:36.159
 So there's like this tradition in our post-grad

418
00:50:36.159 --> 00:50:40.219
 on the 1st of January.

419
00:50:40.219 --> 00:50:45.000
 Every year, you can see those those even with big guns

420
00:50:45.000 --> 00:50:50.000
 and trumpet players on Kometade.

421
00:50:50.000 --> 00:50:51.699
 First of January, I think it's-

422
00:50:51.699 --> 00:50:53.340
 Okay, but it's the same sound or like similar-

423
00:50:53.340 --> 00:50:54.599
 Yeah, it's like the same setup.

424
00:50:54.599 --> 00:50:55.599
 Yeah, yeah, the same setup.

425
00:50:55.599 --> 00:51:00.599
 The trumpets up on the tower and whips and.

426
00:51:03.940 --> 00:51:05.599
 Yeah, it's always interesting to find out.

427
00:51:05.760 --> 00:51:08.440
 I mean, there are so many things to think about you don't know.

428
00:51:08.559 --> 00:51:11.860
 I mean, they also need space not only in front, but also behind,

429
00:51:12.019 --> 00:51:13.599
 so you can't put them, you know.

430
00:51:13.599 --> 00:51:20.960
 It's really interesting to try things in specific spots, actually.

431
00:51:23.300 --> 00:51:27.440
 And the other one was with this. Okay yeah this is not so much

432
00:51:27.440 --> 00:51:37.440
 to talk about. Yeah but there was a composition for this Lumberjack thing.

433
00:51:37.440 --> 00:51:42.860
 And this one we saw already before in another video and I mean I don't know if

434
00:51:42.860 --> 00:51:51.460
 it's obvious but like this one is not centered that's why it goes left and right and yeah out of

435
00:51:51.460 --> 00:51:57.559
 this there was like this invitation to do a sound installation this is in

436
00:51:57.559 --> 00:52:05.119
 Krems at the yes Yes, exactly. I have a question.

437
00:52:08.320 --> 00:52:08.380
 It is about the element of time in your work,

438
00:52:10.420 --> 00:52:13.159
 because I think what all of your works have in common is that time plays a very important role.

439
00:52:13.659 --> 00:52:16.619
 So a lot of this poetic atmosphere

440
00:52:16.619 --> 00:52:19.619
 is because it takes time to build up.

441
00:52:20.340 --> 00:52:23.780
 And also I wonder about documentation.

442
00:52:24.219 --> 00:52:28.159
 We talked before your talk, because we know each other for quite a while.

443
00:52:28.159 --> 00:52:31.000
 And I know that it's hard to...

444
00:52:31.000 --> 00:52:39.239
 We talked about this, that today the videos for Instagram, for example, are very short, like 10 seconds.

445
00:52:39.239 --> 00:52:45.280
 And when we had an exhibition years ago, then the videos were much longer,

446
00:52:45.280 --> 00:52:47.019
 and still they are not long enough

447
00:52:47.019 --> 00:52:52.019
 to show the whole dimension of your work.

448
00:52:52.639 --> 00:52:55.900
 So how do you deal with this documentation issue?

449
00:52:59.199 --> 00:53:00.760
 Hmm, good question.

450
00:53:00.760 --> 00:53:02.840
 It's always changing and challenging

451
00:53:02.840 --> 00:53:04.219
 because every work is different.

452
00:53:04.219 --> 00:53:08.159
 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

453
00:53:08.159 --> 00:53:12.300
 impossible like I mean this one you can't I mean it needs time at least 30

454
00:53:12.300 --> 00:53:17.980
 seconds because it's even it needs 30 seconds to go from left to right you can

455
00:53:17.980 --> 00:53:22.139
 accelerate but then it's I mean it's I don't know it's like I think like that

456
00:53:22.139 --> 00:53:35.300
 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.

457
00:53:36.460 --> 00:53:41.019
 But it's a work itself, because you have to work on the work.

458
00:53:43.380 --> 00:53:45.699
 But I don't know. I think it's super important

459
00:53:45.699 --> 00:53:48.980
 because this is so much work all the time like for example this one this is

460
00:53:48.980 --> 00:53:56.239
 all made of concrete this was like and in it's not like I mean if it would be

461
00:53:56.239 --> 00:54:01.760
 full concrete would be like at 1000 kilo or more thousand three hundred kilos or

462
00:54:01.760 --> 00:54:08.639
 something your cons move it and you need also electricity inside so it's like specific you have like walls like this

463
00:54:08.639 --> 00:54:14.239
 like two three centimeters and in inside it's and it's empty this is so much work

464
00:54:14.239 --> 00:54:19.119
 just to build like how you call this the

465
00:54:19.519 --> 00:54:25.980
 yes exactly and then it stays there for I I don't know, some two months.

466
00:54:26.179 --> 00:54:29.639
 And if you don't have any documentation, I mean, you need it.

467
00:54:29.960 --> 00:54:31.239
 You need it somehow.

468
00:54:32.460 --> 00:54:37.119
 And even this one is super short, the documentation of this work.

469
00:54:37.900 --> 00:54:38.719
 I don't know.

470
00:54:41.199 --> 00:54:42.039
 Yeah, I don't know.

471
00:54:42.119 --> 00:54:45.199
 I think it's important for visual arts in general to have good documentation,

472
00:54:45.380 --> 00:54:46.480
 because if it's a concert, yeah,

473
00:54:47.539 --> 00:54:49.320
 you play again and again and again.

474
00:54:50.780 --> 00:54:52.000
 But yeah, it's too much work.

475
00:54:54.139 --> 00:54:55.659
 Yeah, that's...

476
00:54:55.659 --> 00:54:56.420
 But I don't know.

477
00:54:56.639 --> 00:54:57.480
 It has to be done.

478
00:55:00.539 --> 00:55:01.300
 But I don't know.

479
00:55:01.380 --> 00:55:02.619
 We talked about it before.

480
00:55:02.760 --> 00:55:04.559
 I mean, like, 10 years ago,

481
00:55:04.659 --> 00:55:06.840
 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.

482
00:55:06.940 --> 00:55:12.260
 I would show like maybe it would last like now four minutes or zero.

483
00:55:13.800 --> 00:55:17.900
 And now it feels like 20 seconds is already too much for everybody.

484
00:55:18.780 --> 00:55:21.599
 I saw this like also like younger people when they check installations

485
00:55:21.599 --> 00:55:24.519
 because it was about the sound, perception of sound.

486
00:55:24.519 --> 00:55:28.039
 Like I did this installation with the fans mini kits

487
00:55:28.039 --> 00:55:32.239
 yeah I showed with you it's super it needs a lot of it's also with fans and

488
00:55:32.239 --> 00:55:37.199
 guitars and needs a lot of time a lot of time some 30 seconds to understand in

489
00:55:37.199 --> 00:55:42.000
 what's going on and I saw I observed like it was a festival in the

490
00:55:42.000 --> 00:55:45.239
 Netherlands of the guy who was was just doing Instagram stuff.

491
00:55:45.239 --> 00:55:46.119
 And I showed him the work.

492
00:55:46.119 --> 00:55:47.920
 And he was like, after the three seconds, hey, I understood.

493
00:55:47.920 --> 00:55:50.739
 It was like, how?

494
00:55:50.739 --> 00:55:52.019
 This is impossible.

495
00:55:52.019 --> 00:55:55.400
 Even if it's impossible.

496
00:55:55.400 --> 00:55:56.719
 I don't know.

497
00:55:56.719 --> 00:55:59.679
 And I think half of the people would react the same way.

498
00:55:59.679 --> 00:56:02.059
 Because if everything is super fast,

499
00:56:02.059 --> 00:56:04.320
 and you have something that needs time, I don't know.

500
00:56:06.820 --> 00:56:09.599
 That's why I think it has to be somehow like visually interesting

501
00:56:09.599 --> 00:56:12.639
 that you feel like, okay, it needs more time to understand.

502
00:56:13.480 --> 00:56:17.519
 I think this could maybe, could be some, I don't know,

503
00:56:17.679 --> 00:56:22.480
 like I wouldn't say solution because we don't have to adapt to this,

504
00:56:22.480 --> 00:56:26.019
 but could be a way like to get people closer

505
00:56:27.139 --> 00:56:29.139
 And then yeah

506
00:56:32.880 --> 00:56:35.800
 I'm afraid we don't have time for more questions

507
00:56:39.780 --> 00:56:47.039
 But I'm curious maybe like just this question yeah

508
00:56:50.239 --> 00:56:54.159
 yeah like what's your process of like

509
00:57:01.840 --> 00:57:08.000
 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?

510
00:57:08.000 --> 00:57:12.000
 Yeah that's an easy question, there is no prototype.

511
00:57:12.000 --> 00:57:18.000
 It's like just doing it like the first time, like the thing with the bridge,

512
00:57:18.000 --> 00:57:29.500
 it was like really we had to rehearse like 30 minutes before the concert like just and I would say like 90% is no

513
00:57:29.500 --> 00:57:34.400
 prototype like with the trumpets I build it up this was in Berlin for the first

514
00:57:34.400 --> 00:57:41.059
 time like one hour before the concerts and this was there is just no budget for

515
00:57:41.059 --> 00:57:45.960
 it that's it I mean if you have like the super big... But even though

516
00:57:45.960 --> 00:57:48.079
 I did like something in Sao Alves,

517
00:57:48.179 --> 00:57:49.940
 I don't know if you know, like the museum in

518
00:57:49.940 --> 00:57:52.099
 Portugal, it's the biggest

519
00:57:52.099 --> 00:57:53.780
 museum for contemporary art in Portugal.

520
00:57:54.880 --> 00:57:56.019
 I mean, there it was possible.

521
00:57:56.139 --> 00:57:57.860
 You have two weeks, you build it up, and

522
00:57:57.860 --> 00:58:00.000
 for everything, you know,

523
00:58:00.059 --> 00:58:02.000
 everything you need, there's somebody who

524
00:58:02.000 --> 00:58:03.800
 fix it, you know.

525
00:58:03.940 --> 00:58:10.380
 But this is like just how many places you have. Or just don't do it or you just risk it and I

526
00:58:10.380 --> 00:58:15.920
 don't know or you just play all the time with the same museum or I don't know

527
00:58:15.920 --> 00:58:25.440
 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.

528
00:58:25.679 --> 00:58:26.239
 Sorry?

529
00:58:27.380 --> 00:58:27.460
 The flute.

530
00:58:27.960 --> 00:58:28.380
 Which one?

531
00:58:30.780 --> 00:58:31.579
 The air, automated air.

532
00:58:32.159 --> 00:58:32.380
 Oh, with the pipes?

533
00:58:32.559 --> 00:58:32.739
 Yeah.

534
00:58:34.900 --> 00:58:35.460
 Yeah, this was like, there were no prototype at all.

535
00:58:40.239 --> 00:58:40.320
 This was really, really, this was like one day before.

536
00:58:41.800 --> 00:58:42.360
 I didn't even know if it would work.

537
00:58:43.500 --> 00:58:45.000
 Because it's a lot of tubes, it's like 300 meters,

538
00:58:45.000 --> 00:58:48.000
 and where you should try this.

539
00:58:48.000 --> 00:58:50.000
 And even if you try it, it's there, it's different.

540
00:58:50.000 --> 00:58:53.000
 I didn't know before. I just really didn't know.

541
00:58:53.000 --> 00:58:55.000
 This was really tricky because it was like,

542
00:58:55.000 --> 00:58:57.000
 from the city of Salzburg, it was like,

543
00:58:57.000 --> 00:58:59.000
 they asked me to do it, and I felt super responsible,

544
00:58:59.000 --> 00:59:01.000
 and it was like, I don't know if it works.

545
00:59:01.000 --> 00:59:04.000
 And I turned on the machine one day before the opening,

546
00:59:04.000 --> 00:59:06.139
 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.

547
00:59:07.079 --> 00:59:09.900
 So for me, those were like, all the surprising.

548
00:59:09.900 --> 00:59:11.460
 It sounds like really improvised

549
00:59:11.460 --> 00:59:14.000
 and also like really conceptual.

550
00:59:14.000 --> 00:59:17.059
 At the same time, like an improvised concept or?

551
00:59:17.059 --> 00:59:19.059
 Yeah, you have to eliminate,

552
00:59:19.059 --> 00:59:22.480
 yeah, you have to take away all like the things that,

553
00:59:22.480 --> 00:59:24.300
 yeah, couldn't work maybe.

554
00:59:24.300 --> 00:59:27.199
 That's the thing thing and more and more

555
00:59:28.400 --> 00:59:34.159
 every time you risk more maybe or like I don't know because otherwise yeah you can't you couldn't

556
00:59:34.159 --> 00:59:41.119
 do this all like a lot of work you just couldn't do it's like just you can plan it and if there

557
00:59:41.119 --> 00:59:47.280
 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.

558
00:59:47.280 --> 00:59:51.420
 So even, I don't know if I want more time for it. So I don't know. Yeah,

559
00:59:51.460 --> 00:59:53.800
 I think it's, um, yeah.

560
00:59:55.679 --> 01:00:00.679
 Well, the good thing is that we are having Andreas performing tonight at seven

561
01:00:01.039 --> 01:00:04.119
 in Stadbogstad. So I think, you know, uh,

562
01:00:04.679 --> 01:00:07.079
 I think the concert perfectly will complement

563
01:00:07.079 --> 01:00:09.699
 probably this guest lecture.

564
01:00:09.699 --> 01:00:11.679
 Thank you very much, Andreas, for coming

565
01:00:11.679 --> 01:00:13.900
 and having this beautiful guest lecture.

566
01:00:13.900 --> 01:00:15.659
 And yeah, so a couple of hours.

567
01:00:15.659 --> 01:00:16.159
 Great.

568
01:00:16.159 --> 01:00:17.659
 Thanks.