In the Beginning of the Sea

The Hardangervidda in Southern Norway is a raugh tableland polished by ancient glaciers. This is where in formers times, scientists were trained for expeditions into the arctic, this is where water power once enabled the production of heavy water needed for the construction of atomic bombs: a plant established by Norwegian scientists in Rjukan was fervently fought over during the second world war and eventually destroyed. 
Werner Cee uses the tension zone between archaic nature and short-lived human interference for his acoustic land art project. The Norwegian percussionist Terje Isungset positions artificial sounds in the landscape, plays on found material, communicates with the existing soundscape.

Composed and realized by Werner Cee
Percussion: Terje Isungset
Produced by DeutschlandRadio Kultur, 2009
Duration: 51’03“

Am Anfang der See

This is a documentary feature that is also a drama – it constantly plays between the lines of documentary and drama (docu-drama). Ostensibly it is concerned with the phenomenon of Dracula, the Bram Stoker character that it seems everyone in the world knows, no matter what colour or creed they be.
It traces the author’s roots in Marino, Dublin; his early days in Trinity College, Dublin; and his fateful meeting with the great actor Henry Irving (perhaps the human model for Dracula) at the Shelbourne Hotel, also in Dublin.
Then it switches countries, as did Stoker himself, and visits London, England. Along the way it meets various experts on aspects of the phenomenon of Dracula: Veronica Dunne on the technological innovations within the novel; Amanda Harder on the first Dracula’s to make a huge impression in the cinema (Nosferatu and then Dracula). It switches continents again and visits radio artist Christian Bulwer in Bremen, Germany to talk about the audio only Dracula and particularly the script for Orson Welles’ Mercury Theater on the Air radio production.
Then it contacts Natasha Robson through Skype in New York, America to hear what she has to say about Hammer films and its versions of Dracula; and then Frank Keane on the telephone in Paris, France, to talk about Dracula in television -particularly in the world of the Munsters and Sesame Street.
Finally at a games arcade in Dublin, Ireland things take a turn and the initial play between the worlds of documentary and drama is turned on its head. It seems it was a gigantic leg pull all along. Or was it: with the story of the stranger outside of the Irish town; the voice of a woman coming and going and often telling the magpie rhyme (One for Sorrow…); experts suddenly becoming storytellers as the piece develops; choices of experts -now a man, now a woman, no, a woman will do; doors opening mysteriously; people developing sudden chills…
You know much, Van Helsing is the quote from the book; You know too much, Van Helsing is a Hollywood fabrication that just about sums it up

You Know Too Much, Van Helsing

Werner Cee works in media art, audio visuals, sound installations and electroacoustic music and performs as bass player and live electronic musician. More than 20 Ars-Acustica-Compositions were produced by radio stations such as Studio Akustische Kunst Cologne, DeutschlandRadio Berlin, Hessischer Rundfunk etc. He taught sound art at the High School of Arts Saarbrücken and has been a lecturer for audiovisual art at the Bern University  of Music in 2008/09. Many of his pieces have won international awards, among others at the Ars electronica, Linz 1993// Radio Nacional de España/CDMC Madrid 2000// „Prix Ars Acustica“ Studio akustische Kunst WDR 2002// Computer music competition „Pierre Schaeffer“ Pescara 2002// Computer Space, Sofia/Bulgaria 2002/2004// International Competition of Sonic Art. Bourges 2001/2005// German Sound Art Award 2006 // DigitalArtsWeek Zurich 2007 //Prix Italia 2010 // Prix Italia 2020

http://de.wikipedia.org/wiki/Werner_Cee
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Am Anfang der See

werner cee

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