Oblique sounds (2005)

Oblique sounds centers around movement of loudspeakers. A net of floating, circulating, wandering sinetones develops.

The protagonists are two performers, three speakers hanging on springs, two pendulums with speakers attached to their end, three handheld speakers. Space with a specificity as to how it reflects sounds. The sound director controlling which sinetones are being played through the speakers on the pendulums.

All of these have their own unpredictability. The sounds being played off the speakers become instable and slightly change amplitude and timbre once those are being moved. These soundchanges result mainly due to the speakers’ shift in space and the change of direction in which the sound is being sent and reflected.

The performers interact and re/act momentarily according to what they hear. There is a certain given structure to the performance. However the exact moves of the speakers, the concrete changes of directions and distances from each other and the timings of which speaker is being moved in which manner, and/or being turned on or off vary each time the piece is being played. The composition develops according to the acoustic outcomes of ones own actions, those of the co-creators and those of the moving soundsources. They correlate in an interdependency. This results in a deeply concentrated state of a listening-composing presence of the performers. A synesthesia of sound and movement is achieved. None of these systems can be learned or controled indepth. They are instable in themselves.

Another varying factor is public’s experience. The spatial seating of each listener is different, and thus each receives a slightly individual experience. Public is invited to dive into this poetic subtle soundexperience with eyes closed. This opens questions like: is what you see congruent to what you hear? How does visibility influence what you hear?