The piece was created for an exhibition by the artists' collective No More Shame (https://www.facebook.com/vairakkaunanav/) held at Artist Cafe Fukuoka (https://artistcafe.jp), Japan, in April 2024.

The piece consists of two parts, the first being 6 minutes and 4 seconds long and the second 3 minutes and 44 seconds. The structure of the composition comprises 16 overtones, each of which is divided into various lengths. For example, the first overtone (the lowest one) is divided into 13 parts, with the longest one being 52 seconds and the shortest one 4 seconds. In the second part, the shortest sound is 6.2222222222224 seconds long, while the longest is 49.777777777776 seconds, and there are 8 such sounds in total. The next overtone is divided into 14 parts in the first part and into 9 parts in the second part, respectively. The durations keep getting shorter and shorter. By the 16th overtone, it is divided into 28 parts in the first part and 23 parts in the second part.

The result is a sound field that becomes denser as time progresses in the first part and reaches a culmination when all sounds occur simultaneously, then dissolves again in the second part.

If you want to know more, feel free to ask.

Untitled (2024)

The adaptive listening virtuosity of the pianist will enable him to contract the feedback network system towards a possible point, where space, time and timbre merge.

The set up has a circular form, with the piano in the middle of the circle, an omni-directional microphone above the piano, 12 loudspeakers on the circumference of the circle and the audience sitting in between. The system records the live sound of the piano and plays it back using delay lines with different playback speeds (transpositions) for every loudspeaker. A non-linear feedback process takes place. All 12 channels of sound are physically mixed in the acoustic space, recorded by the microphone and played back again by all 12 loudspeakers with the 12 different transpositions. Through this process all 12 sources are mutually interconnected creating a network of complex behavior. The performer's sound gestures are extended in space and time by the 12 speakers and delay lines. 

At certain moments (overall 12 times) the performer leaves the piano and and make a walk around the circle listening to every speaker. He/she has to locate the speaker with the higher transposition. When he/she comes back to the piano, he/she estimates and press the key associated with the speaker with the highest transposition. The keys and speakers are mapped in a fixed relationship through the piece (speaker 1 → C, sp. 2 → C#, sp. 3 → D, etc.). The feedback system analyze the input note and evaluates a score which contracts the system accordingly by reducing the transposition range of the 12 loudspeakers. After that the system redistributes the new transposition factors to different loudspeakers and a new round begin. 

After the 12th round the system locks the transposition range and reduces the time window of the delay lines. The result is that the audience looses gradually the extended space-time perception which is transformed into timbre perception. Depending on the 12 estimations of the performer, the system will end up with a different transposition range and consequently different timbre for every performance.

Contraction point

Chamber symphony "(SIN)fonietta" (2015), performed by chamber orchestra "Sinfonietta Riga", conducted by Normunds Šnē. Recorded at Riga Great Guild, 14.11.2015 

(SIN)fonietta (2015)

per organo
(Francesco Filidei : organo della chiesa di St Eustache, Paris)


Mauro Lanza - "Predella" (2003)

WRTH & Lunatica Orchestra - Blue Monkey Advertisement For A Zoo

Mary Celeste

Collaboration project with Martin Nygård Haug. First song we made together, a contemporary guitarprocore masterpiece inspired by Oslo, Norway.

Last.fm album page: http://www.last.fm/music/Tecfan+&+Martin+Nyg%C3%A5rd+Haug/Norge
Martin Nygård Haug: http://soundcloud.com/martinnh

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Facebook: https://www.facebook.com/Tecfan

Untitled (2024)

Oskars Herlins

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