Early 2016, the collaboration (SHMF-019..) emerged with this LP.
Late 2015 I was engaged in a collaborative project initiated by Kommissar Hjuler und Frau based in Flensburg, Germany. We were to respond to a CD track with german spoken words, parts reading, parts discussing George Mead's sociological theory of The Generalized Other, a concept used in the field of symbolic interactionism.
My response is a short piece for a music box, based upon the words Die Verallgemeinerte Anderen (The Generalized Other).
This was done by isolating the letters C, D, E, F, G, A, B in the text and using them in a notational system to indicate pitch. The melody was then played with a PRIRI-technique.
P-R-I-RI indicates the many ways a musical piece can be played. P stands for Prime (the original version of the melody), R is Retrograde (backwards), I is inversion (melody is flipped around the first note in the melody) and RI is Retrograde Inversion (being the flipped version played backwards).
All of which is easy and possible to do on a music box.
In this case the first 13 notes (D-E-E-A-G-E-E-E-E-A-D-E-E) are Prime, then starts retrograde, and so on.
The LP has an exclusive edition of 100.
Raume für notizen festival documentation from 2014 and 2016was published.
I participated in 2014 exhibiting a series of 20 drawings of the series entitled Horizon. No Horizon at galerie wechselstrom, and a performance of the project Ghosts/Local Colour at Alte Schmiede together with Stine Janvin Motland and Maximilian Ölz.
Read more about it here.
This beautiful poetry project initiated by Laura Elliot and Angus Sinclair, para·text, issue #2 was released in London. My contribution was a new take on the two Dada Manifestoes by Hugo Ball, from November 2015. This time I re-installed the two paper strips compositions back to the original paper format.
Participation in the New York based Coldfront Magazine.
Curated by Nico Vassilakis, Coldfront reports on poetry, language and music, and publishes visual poetry. Projects presented is Dada Manifesto and The Great Treatise.
The by far biggest project this year was my participation in Sound of a Cage. 3 days of exhibitions, performances, workshops and seminars in Stavanger, Norway. This triennale, circeling around John Cage's work and legacy, and impressively put together by Liv Runesdatter, was this year dedicated to sound poetry.
I exhibited my Dada Manifesto compositions; 9 music boxes and 9 scrolls, performing two of them on the opening night.
From the program: The idea of “texts without words”, text as phonetic sound, detached from semantics, can be traced back to the Futurist and Dada movements in the 1920s and 30s. Kurt Scwitter’s “Ursonata” is one of the first known examples of sound poetry. Later on, the art form developed in the beat cultures where well-known names such as Burroughs, Allen Ginsberg and Brion Gysin started using cassette recordings. European examples were found in France, Italy and United Kingdom, and names such as Bob Cobbing in the UK and Henri Chopin in France were significant figures. In Sweden a peculiar form of sound poetry developed, known as “text-sound-composition”. Behind it were persons with links to Radio Sweden and Fylkingen-groups, such as Åke Hodell and Sten Hanson.
Other participants were: Stine Janvin Motland, Signe Irene Stangborli Time, Sindre Bjerga, Karin Hellandsjø, Else Olsen Storesund, Liv Runesdatter, Anita Kaasbøll, Jaap Blonk, Dylan Nyoukis, Luke Poot, Nina Elisabeth Børke, Jasmijn Visser and more.
I also got to present my work at Kunstskolen i Rogaland (KiR). Engaged and eager students made it an experience I would not be hesitant to repeat.
So, what about 2017?
There's is for a fact some unconfirmed projects out there.
Amongst them ten new scores for an outdoor project in Ontario, Canada.
Stay updated for more info on this one.
This site is my archive in miniature, since 2009.
Feel free to spend some time here.
Look, listen, loathe or love.
Happy New Year!