Installations in 2011

I. Empire by Max Alexander
Empire is an audiovisual piece that is a result of a five-hour live audio performance in a four-story chute in Chicago in summer 2009. The audio was improvised based on existing recordings, and then recreated for the video version of the piece. The piece attempts to render the natural as something strictly formal, as images of sunset become read more and more as pure colour throughout the stages of the piece. Consequently, time becomes less and less significant throughout.

II. Baudrichord by Bjørn Erik Haugen
Baudrichord is based on an interview of the french post-modernist theoretician Jean Baudrillard. I wanted to make use of Baudrillard`s theories of the simulacra on himself as a source. The use is ambivalent since I both am inspired and critical of his theories. His spoken words are analyzed by a program that interprets his voice into tones, or midi-notes. These notes are then fed into a piano that plays these notes mechanically. With that I mean that you can see the tones played, the keys are playing without anybody but the computer moving them. The piece is a simulacra, that makes use of Baudrillard speaking, both as a source and a symbol of his theories creating a soundpiece made out of notes. This is a regression since his voice is reduced to notes. The audience looses the content of what is being said in the interview. Instead they hear a piece for piano made out of him talking on the video.

III. A Pale Shade of Grey by Bjørn Erik Haugen
A Pale Shade of Grey is an electroacoustic composition made out of speeches by Hitler. The speeches have been heavily cleansed for noise, in such a way that the content of what is actually being said, is impossible to get comprehend. The non-?gurative video is a drawing made out of the sounds of the composition. It continually redraws itself in grey tones and is a research in duration and perception of light in video. The video has a link to the material used for the composition: That nazism slowly entered the world as something we did not see the consequences of before it was too late, that of course, is not true. My intention and starting point with this work is to see if it is possible to use or reuse a material that is demonized in a composition.

IV. 62931-62943 by Grady Gerbracht
62931-62943 maps the trajectory of power through the rural landscape. The video, through a very abstract narrative, tells the story of my discovery of and fascination with a unique sonic phenomenon. It chronicles my encounters with imaginary architectures of pure vibration in what I call "agricultural time" - a slower kind of time within which the local agrarian community functions. Its measure is based on natural and seasonal rhythms like the growth of crops, the fattening of animals, and the change of seasons.

V. fuzee by Louise Harris
A fuzee (fusee) is a cone-shaped pulley with a spiral groove used in chord or chain-winding clocks. fuzee is an 8 minute audio/video piece in which sonic momentum is translated into visual movement in a pre-defined and very specific way. The sonic component of 'fuzee' is made up entirely of recordings of clocks chiming or ticking. The visual component makes abstract reference to the inner workings and mechanical motion of clocks and other time pieces.

VI. Filling by Laurie Radford
The videomusic work Filling explores the concept of "filling": the filling of the visual and aural fields, the filling of visual and aural space, the filling of the 'frame' of the screen, and the filling of time with audiovisual materials that present diverse contrasts and plays of texture, density, momentum, geometry and aural-visual interactions.