Name: Manipulert Objekt by Terje Paulsen
Duration: 6 min 40 s
Description: Manipulating an improvised recording of an object.

this is excellent, very intense, congrats terje!

wow, love these cavernous sounds.  very nice, terje.

nice work! enjoying this piece. sounds like a chain dragging in parts.

Manipulating an improvised recording of an object.

Manipulert Objekt

When I record for long periods of time on crowded forests in the nighttime, quickly I start to feel inpatient; I remain as still as possible not to interfere with the incidental sounds and for the same reason I don’t turn on any light so it is usually very quiet and dark out there. Sometimes there is also a long, tricky and scrappy path in the way back.



I usually work with recording takes of 45 minutes or longer. This means this is the amount of time I have to wait until I am able to finally (if I want) press stop.

 

Sometimes, when I am waiting for the recording to hit 45 minutes when it is really dark and they are threatening animal species around, I get scared; the combination of funded and unfunded fears overwhelms me but also adds a twisted exciting aspect to the situation.

 

The fear gives to an inpatient wait a special turn. We are not just there recording but we are also there confronting certain fears and turning to a more primal state of alert and awareness of our quiet surroundings.

 

On this regard, Mark Aizenberg and Maria Neimark Geffen from the Perelman School of Medicine at the University of Pennsylvania recently discovered that fear can actually increase or decrease the ability to discriminate among sounds depending on context. So when we are scared we either have a stronger sense of a universal-sounding object, or have a stronger sense of the many sounding objects occurring individually.

 More Information: http://www.gruenrekorder.de/?page_id=11696

The Wait - David Vélez

Germany’s only ocean island is a singular place in various ways. Situated 70 kilometers from the coast line, it belonged to the UK for 90 years during the 19th century. During World War II, the first facilities for a huge naval base were erected. The tunnels and bunkers from that time were blown up in 1947. In the following years, the island served as a training area for British bombers.
It is not know how the birds have survived this period of destruction. Yet, by the return of people to the devastated island in 1952, it had become more quiet for them, too. More than 370 different species have been counted since then, even though only few of them do actually breed in the island. Nevertheless, Helgoland is among the spots in Europe, that is most densely populated by birds. Within Germany, it is also the only place populated by marine birds like Common Murre, Northern Gannet, Northern Fulmar, Razorbill and Black-legged Kittiwake.
Today, ornithologists can approach the cliffs and caves, were thousands of birds breed, directly through the old tunnels. Lasse-Marc Riek was allowed to use these tracks in order to …
(Stefan Militzer)

For more Infomation and great photos from Helgoland please visit http://www.gruenrekorder.de/?page_id=10129

Helgoland | Lasse-Marc Riek

“Three days of silence” is conceived as complete phenomenological experience of listening. I have been three days within the Sanctuary of La Verna on the top of a mountain called “the mountain of the Stigmata” in Tuscany. I’ve lived together with the monks recording and attending the ceremonies and the sounds of the place trying to penetrate in a dimension of pure contemplation.

La Verna, in Latin Alvernia and geographically known as Monte Penna, is a locality on Mount Penna, an isolated mountain of 1,283 m situated in the centre of the Tuscan Apennines. The place is known especially for its association with Saint Francis of Assisi (he is said to have received the stigmata here) and for the Sanctuary of La Verna, which grew up in his honour.

Count Orlando of Chiusi gave La Verna to Francis on May 8, 1213 as a retreat specially favourable for contemplation, and in 1218 built him the chapel Santa Maria degli Angeli. In August, 1224, frustrated by the changes in the Order of Friars Minor, Francis withdrew to La Verna to keep a forty days fast in preparation for Michaelmas and while praying on the mountain- side he received (on or about 17 September) the stigmata.
After seeing a vision of a seraphim he began to develop nails of hardened flesh which protruded from his hands and feet. He also began to form a wound in his side like that of Christ. Thus La Verna came to be seen as sacred ground. Pope Alexander IV took it under his protection.

In 1260 a church was consecrated there in presence of St. Bonaventure and several bishops. A few years later the Chapel of the Stigmata was erected, paid for by Count Simone of Battifole, near the spot where the miracle took place. The Chiesa Maggiore was begun in 1348, although not finished until 1459.

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Three days of silence | Pietro Riparbelli

New album PRONOIA OUT NOW on Mahorka netlabel!

For download, go to:

http://mahorka.org/release/215

Space migrate allready

Configurations

Looks Frozen

The „Kuhzunft-slotmachine“ is a website-project, based on a picture of a crayon-painted slot machine. Clicking the start button activates the machine to randomly combine pre-produced recordings (of 45 seconds length) within three slots. Instead of typical fruits in the display, you would see photos attached to the specific sounds by the artists responsible for the content. Even the names of the „songs“ are put together by the single names each artist had chosen for their recordings. The vinyl release on Gruenrekorder documents the project with a selection from 13 artists and 158 recordings, that offered a possibility of 3.944.312 tracks. The online-slotmachine has the ability to continuously grow and contains at the date of the vinyl release (February 1st, 2019) four more artists and a total of 225 recordings, providing some 11.390.625 possible titles. Visit slotmachine.kuhzunft.com to discover the project yourself. You can either simply press START and get surprised or deactivate AUTO PLAY to make a selection.

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Please visit 
- http://www.gruenrekorder.de/?page_id=16948 (for more information)
- http://shop.gruenrekorder.de/?full#Gruen_186 (to order the LP)

Slotmachine

Slotmachine | Kuhzunft (Achim Zepezauer)

On the Nature of Things

In his poem De Rerum Natura (On the Nature of Things) the Roman poet/philosopher Lucretius (c. 99 – c. 55 BCE) explores Epicurean physics and philosophy through richly poetic language and metaphors, as he presents an entire cosmology: based on the principles of atomism, Lucretius tries to explain the nature of the mind and soul, and the development of the world. While some of his ideas have been proven scientifically wrong, some of his thoughts seem strikingly reasonable even for the contemporary reader.
Lucretius believes that, while everything in the universe is finite, the smallest elements (“The First Beginnings of Things”) themselves are eternal – moving through the void they collide, create forms and dissolve, just to collide again in order to create new forms.
For Lucretius life is a beautiful chance-driven Dance of the Elements. His ideas, popular and highly controversial in Roman intellectual circles, were soon to be banned and eventually forgotten during the rise of Christianity.
The poem was by chance rediscovered in the 15th century by the famous humanist Poggio Bracciolini (1380-1459), most likely in the scriptorium of a monastery in Fulda, Germany. During the renaissance it eventually became a foundation stone of modern western philosophy and natural sciences.

Translating the Book into Sound

When Soila Valkama, the ars acustica-editor of Finnish broadcaster YLEISRADIO commissioned us to produce a sound-composition, we suggested to her a playful attempt of a sonic translation of Lucretius’ ideas.
The listener embarks on a journey in which a universe of sound unfolds.
Smallest sonic elements float through space, dark and chaotic, merge to create concrete forms, transform into different consistencies, from water to wind, from stone to dust, steadily in motion in a constant process of becoming and dissolving.
Late in the piece the sounds of mammals and humans arrive, blurring again into a palimpsest-like structure when the circle is closing.
We used field-recordings of nature, as an analogue for the “concrete forms” that are created by the colliding elements, but also concrete musical structures: fragments of melodies, tonalities, and rhythmic patterns in contrast to the more abstract material.
Intertwined with the sound-composition we encounter fragments of Lucretius’ text in English and in Latin, carefully adapted and translated by Janko, and spoken by his brother, the actor Stefko Hanushevsky.
The radio-piece consists of six chapters, transposing the structure of Lucretius’ six books into the compositional structure.
There is no delay, no rest to interrupt the flow, we can constantly feel it, and we can see things, smell them, and perceive their sound. –
Lucretius, De Rerum Natura, Book VI: 932+933


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De Rerum Natura / Dance of the Elements | Merzouga

Metaverk was a collaborative sound installation created by Arnfinn Killingtveit and Øyvind Brandtsegg, as a special opening project for Trondheim Electronic Arts Center´s new gallery space at Nedre Bakklandet 20C in Trondheim, and part of the program of the art festival Trondheim Open 2018.  The project was curated by Espen Gangvik.  It was shown from 1. November to 11. November.  The work activated the room by utilizing several computers, microphones, speakers and transducers.  Some of the computers were independent sound entities listening to their environment and responding in their own way, either directly or through abstracted memories of events passed, others were directly connected to interactive stations in the room, like furniture and windows with contact microphones that the audience could interact with and thus in a direct fashion play the room like an instrument.  The roof and windows were also rigged with transducers, making these parts also function as speakers.  The resulting expression was on of an everchanging generative soundscape.  Anything happening, or not happening, in the space, affected how the composition developed.

Metaverk

Five years in the making, David Rothenberg’s Nightingales in Berlin project includes a book, a film, many live concerts, and this double CD, including a 20 page color booklet of stills from the film and music not available in any form online. Here’s what Rothenberg says about the project:
“I used to make interspecies music largely on my own, seeing myself as some kind of individual explorer seeking out musical ideas with creatures we can’t even talk to. But in recent years I’ve decided that the point of musical contact with another species is to convince other people to join me. Over five years, from 2014 through 2019, I invited the best and most adventurous musicians I know to connect in musical collaboration—humans with nightingales, in Berlin and Helsinki.
The nightingales have helped me find the perfect sound. By assembling just the right group of kindred spirits, together we dream of a way that humans and nature might live closer together. Our species is warming the planet beyond recognition, and this could mean the end of our reign over this place. Yet there are still these moments during which humans can touch nature through sound happening all around us, as we make music along with the nightingales of Helsinki and Berlin. The paths to animal music sit right before us.
I love to listen to different musicians respond to the song of the nightingale for the very first time. I have played with these birds for several years now, and sometimes I wonder why I keep trying to make music with musicians with whom I cannot speak, who live as birds—such different lives than people who may join the band. Some human critics think it’s all delusion, that I intrude upon the birds’ ancient world of perfect sound and struggle, but whenever I bring a new musician along to play with nightingales, I realize why I began this process in the first place. We all feel such joy and hope when music can carry meaning from one species to another. The planet becomes a more harmonious place.”

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Nightingale Cities | David Rothenberg

Taken from the upcoming album 'Bij Wat Ook Moog' Gebeuren', forthcoming on Fluid Audio...

www.fluidaudio.bigcartel.com/mailing-list

Bij Wat Ook Moog' Gebeuren

Gareth Davis / Rutger Zuydervelt / Leo Fabriek - Bij Wat Ook Moog' Gebeuren II

Terje Paulsen
(b.1958) is a sound artist from Norway, working with simple instruments and equipment, sometimes self made, sounds from found objects &amp; fieldrecordings from his local environment.

Does also work under the moniker "three strings" [3s], <a href="http://www.myspace.com/3strings" rel="nofollow" target="_blank">http://www.myspace.com/3strings</a>
<a href="http://www.etlefeucomme.be/threestrings.htm" rel="nofollow" target="_blank">http://www.etlefeucomme.be/threestrings.htm</a>

Manipulert Objekt

Terje Paulsen

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