Premiere of new work in the art gallery Kunstbanken, Hamar, May 25th. The audience were able move freely during the performance, walking "into" and "through" the sound of the piece, listening to it at a distance or examining it up close, allowing the sound to accompany their experience of the visual elements (or vice versa).
THE VIDEO features a very basic sound recording of the performance, coupled with a simple video I made of the rooms in which the piece was performed. The installation by artist Tone Bjordam is called "Morph - Transformations in Lichen Landscapes". This was not a planned collaboration between the two of us, but simply my response to what was happening in the rooms (I got to see the installation before composing the piece). In all it's simplicity, the video does at least give some hint to the experience of the audience during the performance.
INTEROBJECTIVE SOUNDSCAPES is the title of a new artistic project that explores different ways of experiencing music and sound as an inter-objective reflection of space and time. Often related somehow to the human experience of global warming, the climate crisis and the sixth mass extinction.
The first work in the series, a piece called "4 rooms", was premiered by solo double bass. The piece is however not exclusively written for this instrument, and may be performed by whichever or by as many instruments as one likes.
The main title, "Interobjective soundscapes", is inspired by a branch of modern philosophy called object-oriented ontology and the writings of environmental philosopher Timothy Morton, whom coined the term hyperobject in his 2015 book "Hyperobjects: Philosophy and Ecology after the End Of The World." One of the core aspects of object-oriented ontology is the rejection of anthropocentrism (anthropocentrism is the belief that human beings are the central or most important entity in the universe).
"We can see, for instance, that global warming has the properties of a hyperobject. It is “viscous” — whatever I do, wherever I am, it sort of “sticks” to me. It is “nonlocal” — its effects are globally distributed through a huge tract of time. It forces me to experience time in an unusual way. It is “phased” — I only experience pieces of it at any one time. And it is “inter-objective” — it consists of all kinds of other entities but it isn’t reducible to them."
- Timothy Morton, 2016
(https://www.hcn.org/issues/47.1/introducing-the-idea-of-hyperobjects (link is external))
(Timothy Morton is an environmental philosopher and Rita Shea Guffey Chair in English at Rice University in Houston, author of "Realist Magic: Objects, Ontology, Causality" and "Hyperobjects: Philosophy and Ecology after the End Of The World.")