Living Room - Sonification 1

Tine Friis og Eduardo Abrantes
2021
Lydinstallation
Bygget af Aloh Studio & Jonas Linnet
Foto: David Stjernholm

[DA] Dette værk tager udgangspunkt i et forskningsprojekt, hvor personer med interesse i sammenhængen mellem tarm og psyke gik sammen om at udføre et såkaldt “erindringsarbejde” – en gruppebaseret arbejdsform, hvor deltagerne skriver tekster om konkrete minder, som de derefter læser og diskuterer. Historierne, der indgår i værket, er baseret på deltagernes tekster og samtaler. Deltagerne skrev ud fra emnet “En gang, hvor mine tarme og min psyke snakkede sammen”.

Tine Friis og Eduardo Abrantes
2021
Sound installation 
Built by Aloh Studio & Jonas Linnet
Photo credit: David Stjernholm

[EN] This work builds on a research project in which participants interested in the connection between gut and psyche came together to do “memory work” – a group-based method in which the participants write short texts about specific memories, which they then read and discuss together. The stories in this work are taken from those texts and conversations. The texts proceeded from the prompt, “One time my gut and psyche spoke to each other”.

Tarme og Psyke - En Nærlytning (Stereo Mix)

Larvae Dome - Sonification Stereo Stream

Det Gådefulde Sanseunivers: Havet

A visiting poet’s reflections on the content and impact of The Living Room, excerpted from her chapbook, RESIDENCE (Otter Books, 2023).
Recorded April 13, 2023 at MUSE reading series at the Medicinsk Museion by Eduardo Abrantes.
***
Elee Kraljii Gardiner is an author, editor, and creative mentor whose award-winning books of poetry include "Trauma Head" and "serpentine loop", and the anthologies "Against Death: 35 Essays on Living" and "V6A: Writing from Vancouver’s Downtown Eastside". A frequent collaborator with choreographers, musicians, and visual artists, Elee is currently collaborating with nature via a series of durational installations that investigate the law of thermodynamics and cultural ideas regarding the passing of time. Originally from Boston, Elee lives in Canada where she directs Vancouver Manuscript Intensive, a program pairing authors with mentors. www.eleekg.com

Residence (The Living Room Notes) At Saxtorph

PAS Berlin Workshop Excerpt_Kraljii Gardiner_Abrantes

Sound piece composed of voice and manipulated field recordings captured in Mooste and Tallinn, Estonia, during March 2015. Commissioned by ESC:ALA.

Some Body In The Landscape

að synda ljóðinu
to swim the poem

Elee Kraljii Gardiner
Eduardo Abrantes

sonic poetry creation collaboration 
held at bókmenntahátíðarinnar á Flateyri
Flateyri Literature Festival
 
March 29th, 2025, 17:00-18:30
community pool in Flateyri

To swim the poem - að synda ljóðinu

Dunderflisa Sequence 01

Susana escuta uma Copenhaga percorrida por Eduardo, depois Eduardo escuta uma Lisboa percorrida por Susana. O mapa sonoro híbrido anima a curiosidade mútua, por sua vez pautada por curtas introspecções faladas. Um diálogo com distância.
***
Susana listens to a Copenhagen that Eduardo has cycled through, then Eduardo listens to Lisbon as it has been walked by Susana. A hybrid sound map results from this mutual curiosity, every now and then intersected by short voiced introspections. A dialogue with distance.

Travessias e Encontros - Susana Escuta Eduardo Depois Eduardo Escuta Susana

A word written on a wall in an old brewery, in a small town in Sweden. A re-sampled soundscape reaching for the 10 bpm un-lifelike rhythm. Vocal intimacy as undertow, the slowing down of the "Impact of lighted bodies" in Mina Loy's words. Slow but not tame, percussive but not uplifting. Maybe.

Ofte, både i min egen lydkunst og i andre kunstneres, mærker jeg lyde som håndgribelige bevægelser i rummet. En af de mest bemærkelsesværdige, mystiske og alligevel almindelige af disse, skal jeg nævne opkald og svar.
Når du siger ”hej” til nogen, du kender, og de svarer tilbage. Når to skibe blæser deres tågehorn, mens de sejler nær. Når alarmen på en mikrobølgeovn bringer dig tilbage til køkkenet, og dine skyndte trin stepper på gulvbrættet. I musikalsk kontrapunkt. Overalt i naturen under parringssæson. 
.................................................................................................................................................... 
Often, both in my own sound work and other artists', i experience sound as tangible movement in space. One of the most common yet mystifying categories of this movement is "call and response". 
When you say "hello" to someone, and they answer back. When two ships blow their foghorns while passing close. When a microwave alarm brings you back to the kitchen, your steps resounding on the wood floor. In musical counterpoint. Everywhere in nature under breeding season.

Opkald og svar

Part of a series of compositions created during a residency at ArtsIceland, Ísafjörður (IS), during November 2017.

Foom Foom Bloom

Krílið

Vegna Næturinnar

Sound composition part of "Neitar að forðast/Refuse to refrain" serie, created during artist residency at ArtsIceland, Ísafjörður, November 2017.

Sigti Eins Og Ég

Lecture-performance by Christina Berg Johansen and Eduardo Abrantes. Inter Arts Center Malmö, December 2017.

Dust: Encountering the Hyperobject

As a young child, even before having my own room in my parent’s home, I was struck by how the experience of listening to radio was radically defined by in-between-ness, and activated by an intense and slightly disorienting curiosity towards otherness, all while powerfully intersecting displacement and site-specificity. Moreover, a battery-operated FM/AM pocket radio with a wire antenna (the kind I had), if paired with headphones, can provide a magical blanket of privacy in relation to one’s immediate surroundings, while providing access to farther worlds of sonic imagination.
Of course, at the time these were not the words I had available to formulate my experience. What I was was fascinated by how voices and music from the beyond could come and reach my ears, as I lay under the (no longer metaphorical) blankets in early nightfall, just before drifting into sleep. And without wires! The world was much less wireless back then.
Most fascinating for me, was the foreign radio coming from beyond the borders. Even beyond the exoticism of unfamiliar vocal geographies, the very act of tuning manually – meaning, traversing the static noise between station frequencies – provides access to a transitive soundscape of glitched/cacophonic heterotopia, stimulated by a phenomenology of expectation. 
Heterophonics is a lecture-performance on the multiple and often incongruous overlapping of imaginary geographies that listening to radio provides. It also deals with how the located body – the listener, wherever she is to be found – is a fully active participant in this heterotopian space, and some notes on the phenomenology and politics of inhabiting it. In sum, this lecture explores traditional radio as a portable heterotopian grid/access point, as well as its nuanced variations in our present age of constant (dis)connectivity.

Heterophonics

Earscape Takeover (Copenhagen, 2019) is an acousmatic composition inspired by ASMR inducing sound techniques, but using unconventional sources, rhythms, manipulated vocals, and ambiances. It has been created specifically to be experienced via the close stereo field allowed by headphones.

As a listening experiment aiming for an embodied effect, Earscape Takeover aims to activate proprioceptive awareness (the body’s sense of itself while embedded in its environment), and to engage the nervous system in a relaxing way (even amidst the soft chaos of public space), while nurturing the lively curiosity of the auditory imagination.

Earscape Takeover

HORN ERU BEYGJUR / CORNERS ARE CURVES is a surround installation/sound composition that knits together some of these sonic encounters. It is composed of manipulated field recordings taken in different environments in Ísafjörður, both private and public spaces, including that strangely simultaneously public and intensely private space, the acoustic of the fjord landscape itself.

The sound collecting and composition process was guided by the awareness of the site-specific acoustic properties of the area, together with intense dialogue and shared experiences with some of the local inhabitants. It was presented as a live mixed quadraphonic (4 channel surround) sound installation at Edinborgarhúsið Cultural Centre, followed by a group walk and an improvised choral encounter at Gallery Outvert.

Horn Eru Beygjur / Corners Are Curves

Amager Fælled Site-Specific Radio

Audio-essay/soundscape version of:
Abrantes, E. (2017). Local sound families and a choir in Estonia: Inquiring into acoustic specificity through multi-layered soundscapes. In L. Greenfield, M. Trustram, & E. Abrantes (Eds.), Artistic Research - Being There: Explorations into the Local. NSU Press.
Narrator: Gry Buhrkall

Eduardo Abrantes

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