Describtion of performance:
I am using pre-recorded fixed composition diffused simultaneously from 2 CDs:
first is diffused through "ordinary" P.A. (with sub-woofer) and second from special complementary set-up
> 2nd CD-composition is divided: right channel is coming to group of tweeters attached on umbrella as "opposite parabola"
hanging over audience and left channel is going to woofer attached against white metal-sheet (used for offset printing originally),
on plate is attached contact-mic going back to mix, sometimes re-treated with analogic electronics. On metal-sheet is placed
mirror-plate, jumping with vibrations and reflecting light ...
I am trying to create extended space definition through distribution ("layering") of frequencies in performing space
("mechanic transformations" and character of this set-up) in combination with punctual "gestures" emphased on purely
acoustic non-amplified and amplified devices, contrasting moments of "physical" action and no-acting in alternation
(action vs non-action). The basic idea of performance is questioning of "physical" presence of performer as visual disturbance
(dominant "optic attractor") from Listening. Simultaneously composition is conceived as contemplation on phenomena of "sound-pollution"
(omnipresent and still in the most cases totally ignored and unheard!) and "technotac-tic", general domination of structuring in repeating
patterns as "tools of orientation (and security) in time-dimension". Complementary character of symmetric vs asymmetric,
fragmentation vs continuity.
Text 1 (about Orgenviron):
Artificial Memory Trace, alias Slavek Kwi, comes out of the "Musique Concrete".
This Czech born musician, based currently in Ireland, is famous for his masterly editing techniques.
In his hands, no structure remains long the same. His music constantly changes, quicksilver surprises coming
from one section to the next - the sum of the parts forming a poetic whole. Slavek's music is a surrealistic hurricane,
masterfully balanced to express anguished beauty. In this sound-realm there is no safety.
Each scene can suddenly twist into something entirely different. Seldom in music is such a time foreshortening to be found.
Kwi's music is profoundly strong, powerful and yet, plastic. He uses only homemade recordings of sounds he has found in nature,
to add to his enormous private archive of stylized words from his former "Musique Concrete" days.
Performances of Artificial Memory Trace give form to his sound-spectrum through a combination of purely acoustical objects,
some of them amplified with contact microphones, mixed with tapes, manipulated with mechanical and electronic processes
to give fantastically deformed and distorted shapes.
Written by Felix Knoth, 1999 (Klangkrieg)
2x CD player (not portable versions!)
1x ordinary hi-fi amplifier (with volume, balance, high+low filters control - manual buttons, not sensors)
+ good quality PA system, of course, with subwoofer
1x table + chair
2x small table-lights
some more light options
possibility to hang up umbrella above head of audience
Installation 1-2 hours
Soundcheck 1 hour maximum (without audience!)