Soundscapes and Sampling.
As I worked with the Pauline Olivers deep listening technique, it became clear that I wanted to create something that can be listened to as much as it can be seen. I wanted to develop my skills and my ability to create soundscapes and operate different sampling machines live, in order to expand my imagination and creativity, and to be able to express myself fully in a non-visual form.
In the beginning of this master program I recorded the sound of a digging machine that was digging near where I was living in Fredrikstad. I recorded it because it reminded me of what it's like to dig through life. I played it on the sampler and twisted the sound a little. I tried to dance, move to the digging machine sound. The texture in the sound I created and what the frequency and vibration did to my body changed my way of listening in space. It was a new experience to fill the whole room with a sound I made and then move to it. Because I made the sounds myself I got a deeper understanding of them. This made my body respond in a new way. My inner images got clearer, and I went deeper in my creativity. When I filtered the sound my body reacted differently as the atmosphere changed. As I turned and twisted the knobs and faders, I turned and twisted my inner landscape.
Choice of sounds:
I create sounds, abstracted from its original source. Sounds the mind cannot so easily categorize. I often start with concrete sounds from everyday objects that I have an immediate emotional response to; sounds that I can link to life experiences that have been very important to me, like the sound of me speaking in Tagalog and the sound of the overhead machine. I also record myself, playing the guitar and humming, the humming and whistling being linked to sounds used in meditation.
In my work I also use everything that is available to me where I am at the time. I live-sample sounds from the space I perform in order to emphasize the moment and to connect with the audience. When I work with sound loops on the sampling machine I improvise on top of a preset, composed structure. This merges risk with safety. The best way for me to improvise is akin to a Jazz-musician, that improvises over a set framework.
Sound works made during this Master period include 15
IN - void Tween BE tracks is developed sounds on with Roland SP 555
1 Digg jam & 2 grave beat : sound from a digging machine in Fredrikstad
3 chaoscosmos : sound from overhead projector with feed from the mic
4 panoking : Talking tagalog
5 questions : Reversed piano
6 playing for grandma : impulse playing for my grandmother,
7 here : musicmaker app
8 In between : overhead projector
9 core : a blend of different sounds i have sampled
10 future: piano
Greving Euphoria JamZ: all made on musicmaker app
11 MA n ILL a
if you want sound for for the movEment , click on the " music sign"
This photo behind took of my sampler Roland SP 555