Wind Etude was the artistic part of choreographer Soili Huhtakallio’s master thesis in the Theatre Academy of Helsinki. It was a contemporary dance piece about predicement of the wolf and woman. About taking space and escaping from it. We ended up to lands of subconsious and dreaming.
T S D o t H T L S T
„The Second Dream of the High Tension Line Stepdown Transformer“ is an ongoing collaboration between Jan Wegmann and me, formed in summer 2014. We work in the realms of minimalism, where we explore the sonic possibilities of continuous sound. We minimise temporal qualities of sound: rhythm, harmonic- and melodic progression, to a point where sounds transform to sonic objects. Time is being dissolved as a qualitative and quantitative value and a new kind of listening- and creating environment opens up, where the linearity of time no longer exists.
We demand a different mode of listening and of experiencing time.
Live Coding is a movement of computer musicians and artists who write software code in order to create artworks and improvise in real time. By removing the many layers of abstraction found in many commercial software tools and working directly within the source itself, the freedom and flexibility of interaction and improvisation with electronic music opens up to an extend that is not possible in more traditional settings. It is the first performance art form in computer music, that is truly computer oriented in the way that it uses the potential of the computer as a musical interface.
For the performers the software code becomes a medium of expression through which musical ideas are articulated and in performances this code is made visible to the audience. In that way processes of thought are exposed and one can follow how ideas evolve, get picked up by other performers and change over time.
In spring 2014 three of my classmates and me formed a live coding ensemble based on these ideas. Since 2014 we played concerts with a wide range of improvisation scores ranging from e.g. a fixed set of sound files for processing to completely free.
In February 2016 I spend a week in the Music Innovation Studies Center in Vilnius for a trans-disciplinary workshop followed by a concert centered around spatial sound art on a 23.1 ambisonics sound sphere.