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The secret life of the inaudible | Christina Kubisch<\/a> & Annea Lockwood<\/a><\/strong> <\/p>\n CD 1 – Annea Lockwood <\/p>\n CD 2 – Christina Kubisch <\/p>\n <\/p>\n About our collaboration.<\/strong><\/p>\n <\/p>\n Annea and I first met in New York in 1975. I was writing an article about the experimental music scene in New York for an Italian magazine. We soon found out that we had a lot of common interests and ideas. In 1979 she came to Italy and together we performed her piece „World Rhythms“ at a festival in Como. I was deeply impressed by how Annea combined technical skills with intuitive performance.<\/p>\n <\/p>\n Sound for her always has been more than just material to bring into a compositional form. It was more than raw material, it had a complex structure of its own and was transporting energy. Annea translated and communicated this energy to the listener and she does this with unusual intensity until today.<\/p>\n <\/p>\n Over the years we followed each other\u2019s works but unfortunately did not meet as often as we would have liked. During her stay in Berlin earlier this year we had another chance to discuss our works, materials, researches, concepts, doubts and future projects. The idea of a collaboration was a natural consequence of this exchange. We both investigate soundworlds which normally are not audible. Annea questions how the forces of nature influence us, I question how manmade electromagnetic fields have an impact on our lives. And we both love field recording, especially exploring underwater sounds with hydrophones.<\/p>\n <\/p>\n We decided to exchange sound materials and left it open to the other what to choose and how to mix it into a new composition. The two new pieces which were created by this exchange are different but at the same time seem to belong together somehow. Annea sent me extracts from recordings of VLF chorus waves, solar oscillations, earthquakes, gas vents etc. while I transmitted to her a collection of recordings of electromagnetic waves which I had made audible and recorded with special custom designed induction headphones. Annea’s sound material was coming from sonic ultra and infra ranges and was speeded up or shifted down in order to become audible, my recordings are analog and were made directly on site in different cities. The sounds we use are all strange and powerful and they go together as if they were especially made for this collaboration. Until now what kind of influence the sources of these normally hidden waves have on us is not much explored. It is up to the listener to find out more about it.<\/p>\n <\/p>\n Thanks to Gruenrekorder who supported our project from the beginning. \u2014 Christina Kubisch, November 2017<\/p>\n <\/p>\n <\/p>\n CD 1 \u2013 Annea Lockwood <\/p>\n Wild Energy gives access to the inaudible, vibrations in the ultra sound and infra sound ranges emanating from sources which affect us fundamentally, but which are beyond our normal audio perception, many of which are creating our planet\u2019s environment: the sun, the troposphere and ionosphere, the earth\u2019s crust and core, the oxygen-generating trees \u2013 everything deeply integrated, forming an inaudible web in which we move, through which we live and on which we depend. It is our sense that through these sounds one can feel the energies generated, not as concepts but as energy-fields moving through one\u2019s body. Here they have been shifted up (infrasound) or down (ultrasound) to bring them into the human audio range.<\/p>\n <\/p>\n Wild Energy begins with solar oscillations (acoustical pressure waves) recorded by the SOHO spacecraft \u2013 40 days of solar oscillations sped up 42,000 times, and ends with ultrasound recorded from the interior of a Scots pine tree.<\/p>\n <\/p>\n Recordings made available to Annea Lockwood by scientists at the universities of Hawaii, Stanford, Iowa, Columbia (USA) and the Swiss Federal Institute for Forest, Snow and Landscape Research.<\/p>\n <\/p>\n Sound sources:<\/em><\/p>\n <\/p>\n The sun<\/em>, acoustical pressure waves \u2013 recording courtesy of Alexander Kosovichev, Solar Oscillations Investigation team, Stanford University <\/p>\n CD 1 \u2013 Annea Lockwood <\/p>\n Composing with combined sound files and sources, six from each of us, has been a unique experience for me, and a deep pleasure. I have long found Christina\u2019s explorations of the electromagnetic fields within which we live now revelatory and essential \u2013 beautiful in their sonic detail and powerful in their effects on my body. And there is satisfying sense of complementarity here: Human-created sounds from Christina\u2019s electromagnetic world, a world which she has been hugely instrumental in revealing to us, and non-human sounds and vibrations from the geophysical, atmospheric and mammalian spheres which are my sources.<\/p>\n <\/p>\n Her sounds were a delight to work with, often with a clear pitch element and, while fluctuating in their details and flow, essentially stable. This contrasts well with the event-driven, more turbulent rhythms and noise content of my materials. It was fascinating to play with these differences and discover how easily our sounds blend as if drawn together magnetically into layered textures. I am most grateful to Christina for suggesting this collaboration.<\/p>\n <\/p>\n Sound sources:<\/em><\/p>\n <\/p>\n Annea Lockwood:<\/em> Tremors and a bench collapse on Mt Kilauea, Hawaii, VLF whistlers, earthquakes in Sumatra and Honshu, Japan, ultrasonic sounds from a Scots pine tree, the Mid-Ocean Ridge Black Smoker hydrothermal vent, solar oscillations.<\/p>\n <\/p>\n Christina Kubisch:<\/em> electromagnetic waves recorded in a subway station, a server room, an underground tunnel, a power station, shopping centers and in the countryside during a thunderstorm after electricity had broken down.<\/p>\n <\/p>\n <\/p>\n CD 2 \u2013 Christina Kubisch <\/p>\n Nine magnetic places is a journey without knowing where to go, what to find, how long to stay or what will come next. It is a discovery of a hidden world, a dreamlike trip by which the traveller encounters unexpected juxtapositions and sequences of electromagnetic waves. The piece was inspired by the first book using the technique of automatic writing, „Les champs magn\u00e9tiques“ by Andr\u00e9 Breton and Philippe Soupault, published in Paris (1920).<\/p>\n <\/p>\n The electromagnetic recordings were made in or traveling to: Las Vegas, Gdansk, Ystad, Kosice, Montreal, Bordeaux, Manchester, Dortmund, San Francisco, Paris, Ekaterinburg, Lagos, Venice, Bratislava, Bangkok and other places.<\/p>\n <\/p>\n <\/p>\n When I was about to finish this piece two powerful storms, called Xavier and Herwart, swept through northern Germany and Central Europe following each other within three weeks. The storms produced hurricane winds and left a path of destruction knocking down trees, power lines and buildings and caused widespread travel chaos.<\/p>\n <\/p>\n I was working in my studio during both storms, looking at the shaking trees in front of my house while I was listening to sounds from vulcanos, solar oscillations, earthquakes and the intense vibrations of electromagnetic fields.<\/p>\n <\/p>\n The experience of the two storms had a strong impact on my work. The piece became a kind of encounter of different energies and vibrations which meet in unforeseen ways.<\/p>\n <\/p>\n Sound sources:<\/em><\/p>\n <\/p>\n Annea Lockwood:<\/em> Volcanic gas vents, VLF chorus waves and whistlers, earthquakes, solar oscillations and ultrasonic tree sounds.<\/p>\n <\/p>\n Christina Kubisch:<\/em> electromagnetic recordings from light systems, seismic research centers,transmitter systems and others. Hydrophone recordings from the river Rhein.<\/p>\n <\/p>\n <\/p>\n <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n Copyright texts:<\/em> <\/p>\n Copyright compositions:<\/em> <\/p>\n Photography:<\/em> <\/p>\n UV photography:<\/em> <\/p>\n Graphic design:<\/em> <\/p>\n 4 Tracks (74\u203220\u2033) <\/p>\n Soundscape Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Stuart Marshall | The Sound Projector<\/a><\/strong> <\/p>\n Louise Gray | The Wire Magazine – Issue 412<\/a><\/strong> <\/p>\n Each composer takes one CD apiece, each of them containing two works. Lockwood turns up the volume on the inaudible on Wild Energy, which she originally made with Bob Bielecki for a compositional installation in 2014 set in the grounds of the Caramoor Center in upstate New York. It begins with a low, sensual pulsing before travelling far into mysterious reaches. Using sounds that begin with sped-up solar oscillations and end with the ultrasonics emitted by a Scots pine tree, Lockwood telescopes the natural world into a vertiginous journey from the macro level of the cosmos to tectonic squeaks of the Earth\u2019s crust to the micro level of a tree\u2019s interior: we hear these sounds because she raises some frequencies, lowers others, all the while situating us \u2013 the listeners \u2013 in a holistic and integrated sounding universe. Streaming, Swirling, Converging, Lockwood\u2019s second composition on Secret Life, employs similar translations of energetic data into the realm of the audible. This time, the human content is more explicit: Lockwood adds sounds from Kubisch \u2013 electromagnetic waves in a subway station, the countryside during a storm, a tunnel \u2013 and uses them in a way that asks us to think of the space that they operate in, the surfaces that they ricochet from, in a way that suggests that even by the act of playing the CD, we are extending this compositional volume.<\/p>\n <\/p>\n Nine Magnetic Places and Below Behind Above, Kubisch\u2019s two works on the second CD, are created from sound sources including electromagnetic waves, transmitter systems and seismic data, in addition to the geological and cosmological sounds donated from Lockwood. Overtly much more dynamic in their sound textures than Lockwood\u2019s pair of works \u2013 these compositions are emmeshed in rumbles, crackles, tickings: Kubisch carefully organises the frequencies of these sounds to suggest not only sonic but spatial volume. The hearing presence of the listener completes these compositions \u2013 functioning, perhaps, like the object that the compositional radar detects. <\/p>\n Aurelio Cianciotta | Neural<\/a><\/strong> <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n \u201eThe secret life of the inaudible\u201d to wsp\u00f3lny album dw\u00f3ch niezwyk\u0142ych artystek. Na pocz\u0105tku chcia\u0142bym przybli\u017cy\u0107 w paru zdaniach bogate \u017cyciorysy obu pa\u0144.<\/p>\n <\/p>\n Annea Lockwood urodzi\u0142a si\u0119 w Nowej Zelandii w 1939 roku. W 1961 roku przenios\u0142a si\u0119 do Anglii, gdzie studiowa\u0142a kompozycj\u0119 w londy\u0144skim Royal College of Music, ucz\u0119szcza\u0142a na letnie kursy w Darmstadt i uko\u0144czy\u0142a studia w Kolonii i Holandii, bior\u0105c udzia\u0142 w kursach muzyki elektronicznej u Gottfrieda Michaela Koeniga. W latach siedemdziesi\u0105tych zdecydowa\u0142a si\u0119 zamieszka\u0107 w Stanach Zjednoczonych podejmuj\u0105c prac\u0119 w Hunter College w Nowym Jorku.<\/p>\n <\/p>\n W latach sze\u015b\u0107dziesi\u0105tych wsp\u00f3\u0142pracowa\u0142a z poetami d\u017awi\u0119kowymi, choreografami i artystami wizualnymi, a tak\u017ce stworzy\u0142a szereg dzie\u0142, takich jak Glass Concerts, kt\u00f3re zainicjowa\u0142y jej trwaj\u0105c\u0105 ca\u0142e \u017cycie fascynacj\u0119 barw\u0105 i nowymi \u017ar\u00f3d\u0142ami d\u017awi\u0119ku. Bardzo ciekawy jest cykl Lockwood powsta\u0142y jako ho\u0142d dla pionierskich przeszczep\u00f3w serca Christiana Barnarda (po\u0142udniowoafryka\u0144ski kardiochirurg, kierownik o\u015brodka bada\u0144 i chirurgii serca na uniwersytecie w Kapsztadzie. Jako pierwszy na \u015bwiecie przeprowadzi\u0142 transplantacj\u0119 ludzkiego serca), pod nazw\u0105 Piano Transplants (1969-82), polegaj\u0105cy na tym, \u017ce niesprawne pianina zosta\u0142y spalone, utopione, wyrzucone na brzeg i nast\u0119pnie umieszczone (posadzone) w angielskim ogrodzie.<\/p>\n <\/p>\n W latach siedemdziesi\u0105tych i osiemdziesi\u0105tych Lockwood skupi\u0142a si\u0119 na pracach performatywnych po\u015bwi\u0119conych d\u017awi\u0119kom wyj\u0119tym z r\u00f3\u017cnych \u015brodowisk ludzkiego \u017cycia, cz\u0119sto u\u017cywaj\u0105c do tego urz\u0105dze\u0144 low-tech, takich jak Sound Ball, zawieraj\u0105cych sze\u015b\u0107 ma\u0142ych g\u0142o\u015bnik\u00f3w i odbiornik, zaprojektowanych przez Roberta Bieleckiego dla Three Short Stories. W latach dziewi\u0119\u0107dziesi\u0105tych i p\u00f3\u017aniej stworzy\u0142a mn\u00f3stwo fascynuj\u0105cych projekt\u00f3w. Polecam dok\u0142adnie prze\u015bledzi\u0107 jej dokonania.<\/p>\n <\/p>\n Christina Kubisch to troch\u0119 m\u0142odsza artysta d\u017awi\u0119kowa, urodzi\u0142a si\u0119 w 1948 roku w Bremie. I ju\u017c zdarza\u0142o mi si\u0119 wcze\u015bniej pisa\u0107 o jej pracach. W 2013 roku opisa\u0142em album \u201eMosa\u00efque Mosaic\u201d, przygotowany przez Kubisch i Eckeharda G\u00fcthera, b\u0119d\u0105cy zbiorem nagra\u0144 terenowych z Kamerunu. Trzy lata p\u00f3\u017aniej ukaza\u0142 si\u0119 ich kolejny materia\u0142, tym razem pt. \u201eUnter Grund\u201d, na kt\u00f3rym zmierzyli si\u0119 z problem w\u00f3d gruntowych i uk\u0142adem podziemnych ruroci\u0105g\u00f3w.<\/p>\n <\/p>\n Wracaj\u0105c do biografii Kubisch to wspomn\u0119, \u017ce studiowa\u0142a malarstwo, muzyk\u0119 (flet i kompozycj\u0119) oraz elektronik\u0119 w Hamburgu, Grazu, Zurychu i Mediolanie, gdzie uko\u0144czy\u0142a studia. Od ko\u0144ca lat siedemdziesi\u0105tych artystka koncentruje si\u0119 na instalacjach i rze\u017abach d\u017awi\u0119kowych oraz pracy ze \u015bwiat\u0142em. Kubisch ma na swoim koncie ogromn\u0105 liczb\u0119 wyr\u00f3\u017cnie\u0144 oraz nagr\u00f3d (np. Nagroda Niemieckiego Stowarzyszenia Przemys\u0142owego \u2013 BDI). Stypendystka wielu presti\u017cowych instytucji i uczelni. Jej wystawy indywidualne pojawia\u0142y si\u0119 w ca\u0142ej Europie, USA, Australii, Japonii czy Ameryce Po\u0142udniowej. Kubisch jest tak\u017ce profesorem wizytuj\u0105cym w Maastricht, Pary\u017cu, Oksfordzie i Berlinie.<\/p>\n <\/p>\n Nale\u017cy pami\u0119ta\u0107 te\u017c o tym, \u017ce Christina opracowa\u0142a tak\u0105 technik\u0119, jak indukcja magnetyczna, kt\u00f3ra znalaz\u0142a zastosowanie w jej licznych instalacjach. Tw\u00f3rczo\u015b\u0107 Kubisch cz\u0119sto okre\u015bla si\u0119 mianem synthesis of arts \u2013 z jednej strony odkrywanie przestrzeni akustycznej i wymiaru czasu w sztukach wizualnych, a z drugiej \u2013 redefiniowanie zwi\u0105zk\u00f3w mi\u0119dzy materia\u0142em a form\u0105 w muzyce.<\/p>\n <\/p>\n Lockwood i Kubisch pierwszy raz spotka\u0142y si\u0119 w Nowym Jorku w 1975 roku. \u2013 Pisa\u0142am wtedy artyku\u0142 o eksperymentalnej scenie Nowego Jorku dla w\u0142oskiego magazynu. Wkr\u00f3tce dowiedzia\u0142y\u015bmy si\u0119, \u017ce mamy wiele wsp\u00f3lnych zainteresowa\u0144 i pomys\u0142\u00f3w. W 1979 roku Annea przyjecha\u0142a do W\u0142och, gdzie razem zagra\u0142y\u015bmy jej utw\u00f3r \u201eWorld Rhythms\u201d na festiwalu w Como. By\u0142am pod ogromnym wra\u017ceniem tego, jak Annea \u0142\u0105czy\u0142a umiej\u0119tno\u015bci techniczne z intuicyjn\u0105 obs\u0142ug\u0105 \u2013 wspomina Kubisch.<\/p>\n <\/p>\n \u2013 Przez lata \u015bledzi\u0142y\u015bmy nawzajem swoje prace, ale niestety nie spotyka\u0142y\u015bmy si\u0119 tak cz\u0119sto, jak by\u015bmy chcia\u0142y. Podczas pobytu w Berlinie na pocz\u0105tku tego roku mia\u0142y\u015bmy kolejn\u0105 okazj\u0119 do om\u00f3wienia naszych prac, materia\u0142\u00f3w, bada\u0144, koncepcji, w\u0105tpliwo\u015bci i przysz\u0142ych projekt\u00f3w. Idea wsp\u00f3\u0142pracy by\u0142a naturaln\u0105 konsekwencj\u0105 tej wymiany. D\u017awi\u0119k dla niej zawsze by\u0142 czym\u015b wi\u0119cej ni\u017c tylko materia\u0142em do wprowadzenia w form\u0119 kompozycyjn\u0105. By\u0142 czym\u015b wi\u0119cej ni\u017c surowcem, mia\u0142 swoj\u0105 z\u0142o\u017con\u0105 struktur\u0119 i transportowa\u0142 energi\u0119. Annea przet\u0142umaczy\u0142a oraz przekaza\u0142a t\u0119 energi\u0119 s\u0142uchaczowi i robi to z niezwyk\u0142\u0105 intensywno\u015bci\u0105 a\u017c do dzisiaj \u2013 dodaje Kubisch.<\/p>\n <\/p>\n Nie ulega w\u0105tpliwo\u015bci, i\u017c obie artystki od wielu lat badaj\u0105 d\u017awi\u0119kowe \u015bwiaty, kt\u00f3re zwykle nie s\u0105 s\u0142yszalne. W kontek\u015bcie \u201eThe secret life of the inaudible\u201d Lockwood zastanawia si\u0119, w jaki spos\u00f3b si\u0142y natury wp\u0142ywaj\u0105 na nas, a tak\u017ce w jaki spos\u00f3b pola elektromagnetyczne wytwarzane przez cz\u0142owieka oddzia\u0142ywaj\u0105 na nasze \u017cycie. Obie te\u017c bardzo lubi\u0105 rejestrowa\u0107 nagrania terenowe, a szczeg\u00f3lnie odkrywa\u0107 podwodne d\u017awi\u0119ki za pomoc\u0105 hydrofon\u00f3w. Kubisch odno\u015bnie \u201eThe secret life of the inaudible\u201d przekaza\u0142a Lockwood swoj\u0105 kolekcj\u0119 nagra\u0144 fal elektromagnetycznych, kt\u00f3re zarejestrowa\u0142a za pomoc\u0105 specjalnie zaprojektowanych s\u0142uchawek indukcyjnych. Z kolei Lockwood obdarowa\u0142a Kubisch zbiorem nagra\u0144 fal VLF, oscylacji s\u0142onecznych, trz\u0119sie\u0144 ziemi, otwor\u00f3w wentylacyjnych etc., pochodz\u0105cych z ultrad\u017awi\u0119k\u00f3w i podczerwieni, a te zosta\u0142y niekiedy przyspieszone lub obni\u017cone tak, aby sta\u0142y si\u0119 s\u0142yszalne.<\/p>\n <\/p>\n \u201eThe secret life of the inaudible\u201d to dwup\u0142ytowe wydawnictwo, gdzie pierwszy kr\u0105\u017c\u0119 wype\u0142ni\u0142y dwa fragmenty nale\u017c\u0105ce do Lockwood. Prawie p\u00f3\u0142godzinne \u201eWild Energy (with Bob Bielecki)\u201d daje mo\u017cliwo\u015b\u0107 obcowania z nies\u0142yszalnymi wibracjami w zakresie ultrad\u017awi\u0119k\u00f3w i promieni podczerwonych pochodz\u0105cych z r\u00f3\u017cnych \u017ar\u00f3de\u0142 (s\u0142o\u0144ce, troposfera, jonosfera, skorupa ziemska, j\u0105dro, drzewa wytwarzaj\u0105ce tlen). W pierwszych minutach s\u0142yszymy oscylacje s\u0142oneczne (akustyczne ci\u015bnienie fal) uchwycone przez statek kosmiczny SOHO, a na koniec ultrad\u017awi\u0119ki zarejestrowane we wn\u0119trzu sosnowego drzewa. Czy poczuli\u015bcie pola energii poruszaj\u0105ce si\u0119 po swoich cia\u0142ach? Zabiegi akustyczne zastosowane w \u201eWild Energy\u201d, czyli infrad\u017awi\u0119ki i ultrad\u017awi\u0119ki, dzi\u0119ki kt\u00f3rym ludzki s\u0142uchasz jest wstanie to wy\u0142apa\u0107, pono\u0107 maj\u0105 umo\u017cliwi\u0107 takowe odczuwanie p\u00f3l energii. Dodam, \u017ce Anne Lockwood udost\u0119pnili nagrania naukowcy z uniwersytet\u00f3w na Hawajach, Stanford, Iowa, Columbia i Szwajcarskiego Federalnego Instytutu Bada\u0144 Las\u00f3w, \u015aniegu i Krajobrazu.<\/p>\n <\/p>\n Zdecydowanie kr\u00f3tszy \u201eStreaming, Swirling, Converging\u201d jest mieszaniem jeszcze innych \u017ar\u00f3de\u0142, w tym przypadku p\u00f3l magnetycznych i odg\u0142os\u00f3w otoczenia. Lockwood przetworzy\u0142a to, co dosta\u0142a od Kubisch, czyli fale elektromagnetyczne zarejestrowane w stacji metra, serwerowni, podziemnym tunelu, elektrowni, centrach handlowych i na wsi podczas burzy po zerwaniu linii wysokiego napi\u0119cia. Lockwood za\u015b od siebie doda\u0142a np. dr\u017cenie \u0142awki, odg\u0142osy trz\u0119sienia ziemi na Sumatrze i Honsiu w Japonii czy oscylacje s\u0142oneczne. Brzmi to jak zakodowany strumie\u0144 wszech\u015bwiata, cho\u0107 z udzia\u0142em materii czysto ziemskiej.<\/p>\n <\/p>\n Na drugim albumie mamy dwie propozycje Kubisch. Fascynuj\u0105co brzmi nagranie \u201eNine Magnetic Places\u201d b\u0119d\u0105ce odkrywaniem ukrytego \u015bwiata, a nawet podr\u00f3\u017c\u0105, w trakcie kt\u00f3rej s\u0142uchacz obcuje z nieoczekiwanymi zestawieniami i sekwencjami fal elektromagnetycznych. Inspiracj\u0105 do powstania \u201eNine Magnetic Places\u201d by\u0142a pierwsza ksi\u0105\u017cka wykorzystuj\u0105ca technik\u0119 automatycznego pisania \u201eLes champs magn\u00e9tiques\u201d Andr\u00e9 Bretona i Philippe\u2019a Soupaulta, wydana w Pary\u017cu w 1920 roku. Co ciekawe, nagrania elektromagnetyczne, jakie pojawi\u0142y si\u0119 w \u201eNine Magnetic Places\u201d, zosta\u0142y mi\u0119dzy innymi zarejestrowane w Gda\u0144sku.<\/p>\n <\/p>\n \u201eBelow Behind Above\u201d to ju\u017c d\u0142u\u017csza praca Kubisch, kt\u00f3ra powsta\u0142a w 2017 roku. Kiedy ko\u0144czy\u0142a j\u0105, przesz\u0142y w ci\u0105gu trzech tygodni przez p\u00f3\u0142nocne Niemcy i Europ\u0119 \u015arodkow\u0105 dwie pot\u0119\u017cne burze, nazywane Xavier i Herwart. Burze wywo\u0142a\u0142y huraganowe wiatry i spowodowa\u0142y spustoszenie, niszcz\u0105c drzewa, linie energetyczne i budynki. \u2013 Pracowa\u0142am w moim studio podczas obu burz, patrz\u0105c na dr\u017c\u0105ce drzewa przed moim domem, podczas gdy s\u0142ucha\u0142am d\u017awi\u0119k\u00f3w z wulkan\u00f3w, oscylacji s\u0142onecznych, trz\u0119sie\u0144 ziemi i intensywnych wibracji p\u00f3l elektromagnetycznych \u2013 wspomina Kubisch. W \u201eBelow Behind Above\u201d Lockwood dostarczy\u0142a Kubisch odg\u0142os\u00f3w gazu wulkanicznego, fal VLF, trz\u0119sienia ziemi, oscylacji s\u0142onecznych i ultrad\u017awi\u0119k\u00f3w z drzew. Z kolei Kubisch dorzuci\u0142a od siebie nagrania elektromagnetyczne z system\u00f3w o\u015bwietleniowych, sejsmicznych o\u015brodk\u00f3w badawczych, system\u00f3w nadajnik\u00f3w i hydrofon\u00f3w z rzeki Ren.<\/p>\n <\/p>\n Wiem, \u017ce \u201eThe secret life of the inaudible\u201d jest pozycj\u0105 dla w\u0105skiej grupy odbiorc\u00f3w, ale jak\u017ce interesuj\u0105c\u0105 i wci\u0105gaj\u0105c\u0105. Frapuj\u0105cy tytu\u0142 tego wydawnictwa, w wolnym t\u0142umaczeniu \u201eSekretne \u017cycie nies\u0142ysz\u0105cych\u201d, skojarzy\u0142 mi si\u0119 z niekt\u00f3rymi tytu\u0142ami film\u00f3w dokumentalnych Wernera Herzoga, kt\u00f3re doskonale opisuj\u0105 nastr\u00f3j panuj\u0105cy u Anne\u2019y Lockwood i Christiny Kubisch, czyli \u201eKraina ciszy i ciemno\u015bci\u201d, \u201eFata Morgana\u201d, \u201eLekcje ciemno\u015bci\u201d czy \u201eJaskinia zapomnianych sn\u00f3w\u201d. Poczujcie te fale! <\/p>\n TJ Norris | Toneshift<\/a><\/strong> <\/p>\n Up next is Lockwood\u2019s Streaming, Swirling, Converging. The setting is a tiny campfire with spiraling synths crossing the threshold into aural cinema. It\u2019s perfectly peculiar and low range. The signals are open and buzz like diminutive electrical appliances. The subdued actions are part science, part space exploration. But it\u2019s the indistinguishable quality between what might be field recordings and what might be pure static that finds its way through the basic fabric here. One thing is clear, there\u2019s a wild scientist at the helm and she\u2019s wielding energy in exploratory ways.<\/p>\n <\/p>\n On disc two Kubisch enters with Nine Magnetic Places and right from the outset you can see why these two decided to put out a comprehensive, complementary recording together. The sound is soaked in low frequencies and despondent drone that ticks and flares in reverb. Tape spindles gyrate and an open sound source offers a multi-channeled spontaneity that persists through the adapting drone. A percussive patter enters and grows slowly, building on a fluctuating sound pulsation, throbbing and dissipating. Perhaps what we are witnessing is actual magnetization, amplified and divided into portions. Whatever it may be it hits you in the center of your chest as you listen.<\/p>\n <\/p>\n On the final piece, Below Behind Above, a near sinewave is delivered with a pitch just within the decibels of human understanding. As other microsounds crunch and are sorted, a lower tonal structure is layered with what could be a passing plane or wind at great heights. The laminous ambiguity is what makes this so intriguing. The work appears to breathe in discordant grace, laid back at times, and awoken by sporadic small waves of hiss. At midpoint the atmosphere changes, new actions are delivered that agitate the seemingly living drone. These complex percussive elements are raspy, like corroded tin, an underwater propeller, and mysterious flying objects. In the final act wriggling electronics and clunky clicks make for a diluted, drunken conversation. It\u2019s a jungle out there, and in here we are courted by Kubisch\u2019s unexpected sonic sources. <\/p>\n Duncan Simpson | Musique Machine<\/a><\/strong> <\/p>\n For this joint endeavour the artists exchanged a wealth of material derived from the inaudible sounds that are usually out of the frequency range for humans. Kubisch contributes electromagnetic recordings made while travelling through cities such as Montreal, Paris, Dortmund and Bangkok. Lockwood contributes a range of sources for her recordings which go from the earthly ultrasound of a Scots pine to massively sped up solar oscillations recorded from space! Just the list of sound sources puts this release into something of a class of its own. Each of the women have produced a piece based on their own material and then a second which is a mix of theirs and their collaborators sound sources.<\/p>\n <\/p>\n The record’s raison d’\u00eatre, of capturing the life of the inaudible is an immediately fascinating and paradoxical proposition. If the sounds are outside of the frequency range for human beings how can they be used as the basis for a record? Conversely, if through scientific and studio techniques the inaudible is rendered audible, have they not obliterated the thing which they claim to be revealing? Certainly the unworldly and thoroughly unfamiliar sounds we hear on this record testify to their origin beyond the mundane. For every squeak, whoosh or throb on Lockwood’s 30 minutes Wild Energy one wonders what the source was. A sudden rush of pure bass is overtaken by bubbling metallic sounds as if an alien species were trying to communicate though the speakers. What could the ultrasound of a Scots pine tree tell about the worlds that lie beneath the bark? Sometimes the sound seems to drop out entirely only to re-emerge from either the upper or lower range. There is a feeling of movement in the composition as if Lockwood was attempting to imbue something of the distance travelled, size or extent of time associated with some of her sources.<\/p>\n <\/p>\n Lockwood’s piece utilising Christina Kubisch’s material Streaming, Swirling, Converging is a shorter affair but rich in texture and tonal counterpoint. To her own pan-global material she includes her collaborators fascinating electromagnetic recordings which bear some resemblance to modulated feedback. Both artists include some hydrophone derived material in the mix, which throws up the occasional gurgle or splash, enough to keep our feet on earth for the time being. The choice of material and sources is clearly important for Lockwood, ranging from the vast reaches of space to the inner life of a tree. The sounds here function like hieroglyphs pointing the way perhaps to some ineffable connectedness of all things. Ineffable, in agreement with the original inaudibility of her sounds.<\/p>\n <\/p>\n Christina Kubisch’s disk begins with Nine Magnetic Places a wonderfully layered piece deploying a range of recordings of electromagnetic waves composed – so the notes say – according the methodology of automatic writing. Collected on her travels across the world the materials for this piece testify to the traditional relationship between metropolitanism and the avant-garde of the early 20th century. It’s a piece full of the buzzing (sometimes quite literally) of life, transit and intrigue, as throbbing bass drones open onto almost analogue synth-like tones and gradually modulating harmonics. Around the nine minute mark the fluctuating tones snarl up into a gravelly pulsating rhythm behind which another set of gloaming tones pulse in step. Fans of Nurse With Wound’s Soliloquy for Lilith (which is also based on electromagnetic waves) or Pierre Henry’s feedback derived work from the early 60s will lap this up.<\/p>\n <\/p>\n The second longer piece titled Below Behind Above is the collaboration with Lockwood’s sounds. The notes speak of how Kubisch was auditioning these sounds during two storms that tore through central Europe. The combination of the violent weather and Lockwood’s interstellar material inspired a composition staging an encounter between different energies. In effect what we hear is a kind of hybrid between the two composer’s use of these ultra and infra-sound materials. There’s some nice use of effects that transform tonal vibrations into almost bird-like chirps. Indeed on this piece we hear the briefest hints of the phenomenal realm in sudden wood clunks, distant animals (heard as if from underwater) or the movement of water. Overall though this piece, like the others, still aims resolutely at the noumenal .<\/p>\n <\/p>\n A fascinating collection of works of undoubted originality and quality, the question remains as to whether the „secret life of the inaudible“ is really what they’ve managed to capture rather than a document testifying to the advances in audio recording and processing technology. Perhaps the key lies in the notion of a „secret life..“ which implies the role of the composer as a kind of mystic initiated into an esoteric knowledge. Technology may obscure the object in itself, but to use a well known dictum from the history of mysticism that I hope the artists would not disapprove of; their subject matter is revealed in and through that concealment. The Secret Life of the Inaudible is a project at the cutting edge of sound art that poses questions as well as producing tremendous results. <\/p>\n Peter van Cooten | ambientblog.net<\/a><\/strong> <\/p>\n The pieces on this album are soundscapes created using these recordings of the (usually) inaudible. Lockwood and Kubisch \u201cdecided to exchange sound materials and left it open to the other what to choose and how to mix it into a new composition\u201d.<\/p>\n <\/p>\n \u201cAnnea\u2019s sound material was coming from sonic ultra and infra ranges and was speeded up or shifted down in order to become audible, my [Christina\u2019s] recordings are analog and were made directly on site in different cities. The sounds we use are all strange and powerful and they go together as if they were especially made for this collaboration.\u201d<\/p>\n <\/p>\n For the listener, the soundscapes open up a completely new world. A world you didn\u2019t know you were part of, and sounds that you normally would never be able to hear. As an example, Wild Energy begins with a recording made by the SOHO spacecraft: 40 days of solar oscillations (acoustical pressure waves) sped up 42.000 times, and ends with ultrasound recorded from the interior of a Scots pine tree. <\/p>\n The result is a fantastic journey into uncharted aural territories. Hearing the sound of all these frequencies also raises the question what effects they might cause on the environment, and on ourselves: <\/p>\n a-Musik<\/a> | News: April 2018<\/strong> <\/p>\n Genauer gesagt beinhaltet die erste CD mit \u201eWild Energy\u201c ein St\u00fcck von Lockwood, das aus bearbeiteten Ultraschall- und Infraschallsounds, die unter anderem von der Erde oder der Sonne \u201eproduziert\u201c werden, besteht, w\u00e4hrend sich auf der zweiten CD mit \u201eNine Magnetic Places\u201c eine Soundarbeit von Kubisch befindet, mit h\u00f6rbar gemachten Aufnahmen von elektromagnetischen Wellen, wie sie in U-Bahnstationen, an Geldautomaten oder Elektrizit\u00e4tswerken existieren. Zudem ist auf beiden CDs jeweils ein kollaboratives St\u00fcck zu h\u00f6ren, in dem diese nat\u00fcrlich bzw. technisch erzeugten Ger\u00e4uschen verarbeitet und kombiniert werden, und vor allem mit \u201eBelow Behind Above\u201c in einer regelrecht bet\u00f6renden Symbiose m\u00fcnden. Das Ganze kommt im Klappcover samt 16seitigem Booklet, das, wie gesagt, Anmerkungen der beiden sowie einige Fotografien beinhaltet, daher \u2013 und darf jetzt schon als eine der herausragenden Klangkunstreleases in diesem Jahr gelten. <\/p>\n textura<\/a><\/strong> <\/p>\n Born in New Zealand and Bremen respectively, Lockwood (1939- ) and Kubisch (1948- ) are long-established and much-admired figures in the sound art field who first met in New York in 1975 when Kubisch was writing an article about the city’s experimental music scene for an Italian magazine; four years later, they recovened in Italy where they performed a Lockwood piece at a festival in Como. The two share common ground, yet explore it from different angles: in Kubisch’s words, though \u201cboth investigate soundworlds which normally are not audible … Annea questions how the forces of nature influence us, I question how man-made electromagnetic fields have an impact on our lives.\u201d To create The Secret Life of the Inaudible, the two exchanged sound materials and allowed each to select what she would for the production of a new composition. From Lockwood, Kubisch received recordings of solar oscillations, earthquakes, gas vents, and the like; Lockwood, on the other hand, worked with recordings of electromagnetic waves supplied by Kubisch.<\/p>\n <\/p>\n Representative of the release is Lockwood’s opening \u201cWild Energy,\u201d which draws upon recordings of the sun, gas and hydrothermal vents, tremors, radio waves, earthquakes, bats, trees, and even a Sei whale for its half-hour presentation. In general, the source elements lose their identifiability after being manipulated by Lockwood, though connections to the source materials might be made for those intent on doing so. Punctuating the subdued dronescape are synth-like flares and bright glissandi that intermittently swoop and whistle across surfaces that by turn burble, percolate, and convulse. Rumbles, rattles, rustlings, and gaseous emissions surface in a presentation that undergoes constant mutation. To give some idea of the scope of the materials with which she worked in creating the piece, consider that it begins with solar oscillations recorded by the SOHO spacecraft and ends with material sourced from the interior of a Scots pine tree. The Lockwood half concludes with \u201cStreaming, Swirling, Converging,\u201d which she created using six sound files from each collaborator. The range of sounds is again noteworthy, with Lockwood sourcing everything from solar oscillations to a bench collapse, and Kubisch providing her with electromagnetic waves taken from a subway station, shopping center, and power station, among other things, to work with on this comparatively more industrial-tinged soundscape. Again a pronounced synthesizer-like sound design imbues the result with a spacey electronic aura.<\/p>\n <\/p>\n Taking its cue from the first book to deploy the technique of automatic writing (1920’s Les champs magn\u00e9tiques by Andr\u00e9 Breton and Philippe Soupault), Kubisch’s \u201cNine Magnetic Places\u201d unfolds mercurially, its creator intent on letting electromagnetic sounds advance in a dreamlike flow. Assembled using recordings compiled from Las Vegas, Montreal, Bordeaux, Manchester, Paris, Venice, Bangkok, and elsewhere, the setting swirls, grinds, buzzes, sputters, and whirrs like factory machinery and broken-down radio transmissions for thirteen engrossing minutes. \u201cBelow Behind Above,\u201d her collaboration piece, grew out of an experience Kubisch had witnessing the wrath of two, chaos-inducing storms that wreaked havoc upon northern Germany and Central Europe during a three-week period. Given her sensitivity to electromagnetic vibrations and energy fields, it’s natural that Kubisch would be powerfully affected by the experience and eager to translate it into sound form. Working with sounds supplied by Lockwood taken from volcanic gas vents, VLF chorus waves and whistlers, earthquakes, solar oscillations, and ultrasonic tree sounds and her own recordings from light systems, transmitter systems, and the river Rhein, Kubisch concocted a woozy, twenty-two-minute soundscape that plays like something beamed down to us from a distant galaxy.<\/p>\n <\/p>\n It’s fascinating stuff, not only in terms of the production processes involved but in purely audio terms. How wonderful it is that artists of Kubisch’s and Lockwood’s explorative character are operating today with as much conviction as they did decades ago, and how fortunate we are that an imprint such as Gruenrekorder exists to provide a forum for their creative work. <\/p>\n Lutz V\u00f6ssing | skug \u2013 MUSIKKULTUR<\/a><\/strong> <\/p>\n \u00bbSound for her always has been more than just material to bring into a compositional form. It was more than raw material, it had a complex structure of its own and was transporting energy. Annea translated and communicated this energy to the listener and she does this with unusual intensity until today.\u00ab<\/p>\n <\/p>\n In diesem Fall ist die Kunst der Musik Vermittlung oder Kommunikation von Energie, die K\u00fcnstlerin mehr oder weniger Medium, \u00dcbermittlerin, die sich blo\u00df kleine Ver\u00e4nderungen am Material, \u00bbKunstgriffe\u00ab, erlaubt. Nachdem Lockwood und Kubisch sich 1979 zum ersten Mal trafen und gemeinsam Lockwoods St\u00fcck \u00bbWorld Rhythms\u00ab performten, trafen sich die beiden anerkannten und mit Preisen verzierten K\u00fcnstlerinnen erst 2017 in Berlin wieder und es entstand die Idee f\u00fcr eine neue Kollaboration. Denn, so Kubisch weiter im Booklet:<\/p>\n <\/p>\n \u00bbWe both investigate soundworlds which normally are not audible. Annea questions how the forces of nature influence us, I question how manmade electromagnetic fields have an impact on our lives. And we both love field recording, especially exploring underwater sounds with hydrophones.\u00ab<\/p>\n <\/p>\n F\u00fcr dieses Projekt tauschten sie Material aus und lie\u00dfen offen, was die andere Person damit anstellen w\u00fcrde. Annea sandte ihr Extrakte von Tonaufnahmen geophysikalischer \u00bbatmospheric spheres\u00ab, das sind u. a. Ultraschallwellen, die in ihrem nat\u00fcrlichen Vorkommen unh\u00f6rbar sind. Ausl\u00f6ser sind u. a. eine schottische Pinie (!), die Sonnenschwingung oder \u00bbeinfach\u00ab die unterirdisch sich auswirkenden Kl\u00e4nge von Erdrutschen. Von Kubischs Seite kam eine Sammlung von Aufnahmen elektromagnetischer Wellen, die mit eigens angefertigten Induktionskopfh\u00f6rern erzaubert wurden. Zudem nimmt sie Bezug auf den Rhein, ein bekannter Vertreter im Bereich der musikalischen Inspirationen (siehe Wagner, Richard). In diesen hielt sie ein Hydrophon; zu h\u00f6ren sind also Unterwasseraufnahmen. Alles \u00e4u\u00dferst kompliziert und doch so spannend, denn diese Strahlungen, Wellen, das Zittern des Bodens, die uns umgeben, haben einen ungemeinen Einfluss auf unser Leben.<\/p>\n <\/p>\n In den vier St\u00fccken werden seltsame, au\u00dferweltliche Szenen heraufbeschw\u00f6rt, die doch nur von dieser Welt herstammen. Es ist Science-Fiction ohne Weltraum. Die verschiedenen Aufnahmen sind freilich nicht blo\u00df unverarbeitet wiedergegeben, sondern so arrangiert, dass sich aus Sound-Oberfl\u00e4chen Landschaften ergeben, die man bereisen darf \u2013 mal \u00fcber, mal unter Wasser, mal irgendwo zwischen. Das Rauschen und Dr\u00f6hnen ist kaum zu erkennen, doch nie ist es so weit entfernt, dass man meint, die Erde zu verlassen. Die Informationen, die uns die K\u00fcnstlerinnen vorher gaben, spielen da nat\u00fcrlich mit rein. Jedoch lassen vor allem die Kl\u00e4nge, welche mit dem Hydrophon aufgenommen wurden, die Tiefen der kaum erforschten Meere erahnen. Da vermeint man, ein V\u00f6glein zwitschern zu h\u00f6ren, das vielleicht blo\u00df eine bearbeitete Welle der Sonnenstrahlen ist, die sich durch die Arbeit der K\u00fcnstlerin im Rhein bricht. Alles m\u00f6glich. Und wer wei\u00df schon, ob nicht der eine oder andere Vogel tats\u00e4chlich seine Melodie zu den stetigen Akkorden der Sonnenstrahlen singt. <\/p>\n Beach Sloth<\/a><\/strong> <\/p>\n \u201cWild Energy (with Bob Bielecki)\u201d sets the tone for what follows. Random bursts of noise, odd intervals of periodic drone, all of these come together in a way that lends it a sense of true mystery. Easily the highlight, it serves as a Rosetta stone for what follows. Industrial hums grace the weirdness of \u201cStreaming, Swirling, Converging\u201d where it at times feels akin to hearing office equipment put on full blast. With these first two piece, Annea Lockwood proves to be the kinder of the two. Tension reigns supreme on Christina Kubisch\u2019s side, where sounds collide, bounce off each other, and at times nearly explode. Far more anxious, \u201cNine Magentic Places\u201d goes for an odd rhythm, one that highlights the intensity of its surroundings. A little kinder \u201cBelow Behind Above\u201d brings the entire album to a close with a sense of almost yearning.<\/p>\n <\/p>\n \u201cThe Secret Life of the Inaudible\u201d lends the even tiniest of sounds a voice to be heard, proving Christina Kubisch & Annea Lockwood to be true masters of their craft. <\/p>\n Soundohm<\/a><\/strong> <\/p>\n MASSIMO RICCI | TOUCHING EXTREMES<\/a><\/strong> <\/p>\n But we do get privileged whenever communicating \u2013 remotely but, by the grace of heavens, through sounds \u2013 with truly developed beings such as Christina Kubisch and Annea Lockwood, themselves linked by a long-time friendship and artistic consanguinity that never had resulted in a tangible collaboration. Until today.<\/p>\n <\/p>\n Narrating yet again what these women have been doing throughout their histories of sonic researchers would be pathetic (but if you still think there is a need to, a peep to the presentation notes of this release will help explicating the kernel of the matter). This double CD encloses four handsome compositions derived from the manipulation of swapped materials; the common denominator is the attempt of turning invisible energies and inaudible frequencies into physically perceivable substances destined to increase one\u2019s congenital acumen. Kubisch and Lockwood operate at levels of intuitive interiority unconceivable by the average gatherer of location recordings and electronics. We can literally \u201cfeel inside\u201d the gradual effect of sources reconfigured in various types of aural concretization. They emerge as penetrating hums of radiophonic descent, or may resemble marine currents inhabited by a somewhat alien fauna attempting new forms of signal transmission. The ordinary becomes unconventional; the voice of nature and its private tumults get disfigured by deforming lenses that, rather amazingly, emphasize the gravity of each single event.<\/p>\n <\/p>\n That these pieces ultimately can stand proudly amidst the finest electroacoustic musics of the last few decades is obviously a plus. However, what really counts is the implicit message: communication does happen at every stage of physical existence, including the supposedly inanimate. In times when most humans are bamboozled by things that do not exist particularized by brains that do not work, what we have to do is raising the aerials way up. Consequences \u2013 if there is sufficient emotional fuel in your personal tank \u2013 will inevitably materialize. <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> <\/p>\n Holger Adam | testcard<\/a><\/strong> The secret life of the inaudible | Christina Kubisch & Annea Lockwood Gruen 180 | Digital > [order] Double CD > [Sold Out] Reviews CD 1 – Annea Lockwood WILD ENERGY | 2016 (with Bob Bielecki) \u2014 (29:49) STREAMING, SWIRLING, CONVERGING | 2017 \u2014 (8:25) Sound engineering and mastering: Tom Hamilton, New York […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-16443","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16443","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16443"}],"version-history":[{"count":76,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16443\/revisions"}],"predecessor-version":[{"id":21230,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16443\/revisions\/21230"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16443"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 180 | Digital > [order<\/a>]
\nDouble CD > [Sold Out<\/span>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\nWILD ENERGY | 2016 (with Bob Bielecki) \u2014 (29:49)<\/em>
\n STREAMING, SWIRLING, CONVERGING | 2017 \u2014 (8:25)<\/em>
\nSound engineering and mastering: Tom Hamilton, New York<\/p>\n
\nNINE MAGNETIC PLACES | 2017 \u2014 (13:26)<\/em>
\n BELOW BEHIND ABOVE | 2017 \u2014 (22:32)<\/em>
\nSound engineering: Eckehard G\u00fcther
\nMixed at Studio Hoppegarten
\nMastering: Douglas Henderson<\/p>\n
\n
\n
\nWILD ENERGY | 2016 (with Bob Bielecki)<\/strong>
\nMP3<\/a><\/p>\n
\nGas vents and tremors, Mt Kilauea<\/em> \u2013 recordings courtesy of Milton Garces, the Infrasound Laboratory, University of Hawaii
\nVLF Chorus waves and Whistlers; Auroral Kilometric Radiation radio waves<\/em> \u2013recordings courtesy of Craig Kletzing, Radio and Plasma Wave Group, University of Iowa
\nSei whale<\/em> \u2013 recording courtesy of Arthur Newhall, Woods Hole Oceanographic Institute
\nEarthquakes<\/em> \u2013 recordings courtesy of the U.S.G.S; Ben Holtzman, Lamont-Doherty Earth Observatory, Columbia University and Jason Moran
\nTrees<\/em>, cavitation events and ultrasound emissions \u2013 recordings courtesy of Melvin Tyree; Roman Zweifel , Swiss Federal Institute for Forest, Snow and Landscape Research WSL and Marcus Maeder, Zurich University of the Arts, Institute for Computer Music and Sound Technology
\nHydrothermal vents<\/em> – recording courtesy of Timothy Crone, Lamont-Doherty Earth Observatory, Columbia University
\nBats<\/em>: pipistrelle, California myotis, silver-haired bats, Shockwave-Sound.com; big brown bat and Grote\u2019s tiger moth recording courtesy of Aaron Corcoran, Wake Forest University<\/p>\n
\nSTREAMING, SWIRLING, CONVERGING | 2017<\/strong>
\nMP3<\/a><\/p>\n
\n
\nNINE MAGNETIC PLACES | 2017<\/strong>
\nMP3<\/a><\/p>\n
\nCD 2 \u2013 Christina Kubisch
\nBELOW BEHIND ABOVE | 2017<\/strong>
\nMP3<\/a><\/p>\n
\n
\nChristina Kubisch, Annea Lockwood<\/p>\n
\nAnnea Lockwood BMI, Christina Kubisch GEMA<\/p>\n
\nRuth Anderson, Christina Kubisch, Peter Kutin, Fabrizio
\nPlessi, Dieter Scheyhing, Christopher Williams<\/p>\n
\nChristina Kubisch, from the series \u201eTraces\u201c, 2011<\/p>\n
\nFLATLAB, www.flatlab.biz<\/a><\/p>\n
\nDouble CD (500 copies)<\/p>\n
\nGermany \/ 2018 \/ Gruen 180 \/ LC 09488 \/ GEMA \/ EAN: 4050486122327<\/p>\n
\n
\nDredging detail from inaudible depths are two veterans of the interior realms, Christina Kubisch and Annea Lockwood, who pair up for a double disc document of recordings taken from situations more commonly associated with other sensory experiences: earthquakes, solar flares, electromagnetic waves and other \u2018geophysical atmospheric spheres\u2019, as well as more conventional field recording sites like subway stations, thunderstorms. At any other time we\u2019d have a melange of quotidian site recordings on our hands, but the pair\u2019s technological adeptness takes the recording process all the way into \u2018the interior of a Scots pine\u2019. The logistical efforts gone to are clearly commensurate with the sounds sought after; EM wave recordings for instance are slowed or sped up for audibility (and headphones are advised), as well as treatments more arcane. Emphasising the \u2018correspondence\u2019 nature of the relationship, the discs, like the artists, are geographically separated in a gatefold sleeve, and tapes were exchanged by courier. Unsurprisingly, the final product is the counterpart\u2019s considered reworking of the original recordings into organic collages of energised sound fields where the once-inaudible enters the human hearing range, while remaining veiled in identity: darkened wind tunnels, hissing tundra and many other (psycho-)geographical extremes are evoked in these mysterious and absorbing sound worlds.
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\nWhile Christina Kubisch and Annea Lockwood have been significant points on each other\u2019s radars since their first meeting in the mid-1970s, it\u2019s only now, on this double CD release, that the two have collaborated. They do this via a sharing of sound files that effectively points towards a process of co-composition allowing each musician to enter and manipulate the other\u2019s soundworlds. As the album title suggests, the pair were brought together by a shared interest in making audible sounds that are, by reason of their frequency and materiality, inaccessible to the unaided human ear. The results are exhilarating, both compositionally and in the breadth of new approaches to sound sourcing.<\/p>\n
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\nChristina Kubisch and Annea Lockwood met each other in a different age. It was around 1975 and the New York experimental music scene wasn\u2019t as internationally recognized, but both artists already had solid backgrounds. Christina Kubisch had attended the Milan Conservatory and was developing some fundamental multimedia research with the Italian artist Fabrizio Plessi. Annea Lockwood was a teacher at the Hunter College in Manhattan and was already working with field recordings, focusing especially on the environment, often in partnership with different choreographers, sound poets and visual artists. Their first partnership dated to 1979, a festival in Como, Italy. Together they performed \u201cWorld Rhythms\u201d, a piece by Annea Lockwood. Since that time, the two artists have not many opportunities to meet again, so when this happened at the beginning of 2017 in Berlin, the idea to work together again was a natural consequence; the result of a mutual respect and understanding. The core point was attention to the inaudible, a powerful fascination for both the experimenters, the key that influences our lives and our perception of the world. Kubisch and Lockwood took a determined and unusual decision: they exchanged their own audio files and let each other mutually choose and mix the audio sources individually developed into a new composition. The two suites originating from this exchange definitely seem different, but at the same time also similar. Lockwood sent her colleague some recordings including VLF chorus waves, solar oscillations, gas vents and earthquakes. Kubisch had to modulate these ultrasonic and infrasonic events to make them audible. The other sources followed a different direction, because they were analog: audio captures taken live and from different cities, following a scheme that may seem more traditional, but at the same time also effective enough and respectful of the qualities of the weaves. However, apparently nothing can be taken for granted. The two composers always keep the listener\u2019s attention high, but at the same time set the imagination free. The psychoacoustics they play are slightly doctrinaire, however they are conceptual and heart breaking.
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\nDwie wielkie artystki d\u017awi\u0119kowe, przekaza\u0142y sobie odmienny materia\u0142 \u017ar\u00f3d\u0142owy, kt\u00f3ry po\u0142\u0105czy\u0142y na jednym wydawnictwie. <\/p>\n
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\nRecorded between 2016-17 here we find two longtime experimental composers at work, and both women have pioneered new sonics at every turn over five decades. Released via the Soundscape Series (Gruenrekorder; 2xCD) New Zealander Annea Lockwood and German Christina Kubisch deliver The Secret Life Of The Inaudible. The record consists of four tracks, two from each artist, separated on the two included disks. Starting off with Wild Energy (with Bob Bielecki) Lockwood darkens the room with a earthly rumbling, maybe she\u2019s a storm-chaser? The atmosphere is cavernous with sudden broad bass. As she conducts this muffled noise symphony tiny starry electronic blips emerge and disappear quickly. At 70-something she is still sculpting soundscapes with intuition and a greater understanding of minimalism. As the storm moves out a tiny watery \u2018thwack\u2019 grows into what sounds like distortions derived by nature. A rustling whistle plays audibly on the low range, just as promised in the title, with the occasional ripple runs through the mix. Towards the end of this half hour piece electronic chirps are met with a slight space drone and great pause.<\/p>\n
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\nSomething of an event release this for Gruenrekorder; The Secret Life of the Inaudible is a double CD collaboration between the New Zealand born American composer Annea Lockwood (She of A Sound Map of the Hudson River and numerous brutalised pianos in the 1970s) and Christina Kubisch who’s most recent release on Gruenrekorder was Unter Grund a record which made use of material collected appropriately enough beneath the earth’s surface at various locations in the area of the Ruhr in Germany.<\/p>\n
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\nGruenrekorder is a German label \u201cpromoting soundworks and phonography. Phonography considers nature\/the environment as an acoustic experience, loaden with musical sounds\u201d.
\nI don\u2019t think a more fitting label could be found for the release of The Secret Life Of The Inaudible, the double CD set by Annea Lockwood and Christina Kubisch. The recordings can be categorized as \u2018field recordings\u2019 but it\u2019s not as easy as going \u2018into the field\u2019 and \u2018press record\u2019 (most good field recordings aren\u2019t, by the way). And both these artists have been around since the beginning of these kind of sonic explorations (Annea Lockwood was born in 1939, Christina Kubisch in 1948). Both are legends in their own fields, the true first generation of sound artists.<\/p>\n
\nOther sound sources include volcano tremors and gas vents, earthquakes, VLF chorus waves and whistlers, bat sounds, etc (Annea Lockwood\u2018s input) kinds of electromagnetic waves (subway station, server room, power station, shopping centers in various cities, seismic research centers, the countryside during a thunderstorm after electricity had broken down, etc (Christina Kubisch\u2018s specialism).<\/p>\n
\n\u201cUntil now what kind of influence the sources of these normally hidden waves have on us is not much explored. It is up to the listener to find out more about it.\u201d
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\nDer Titel der neuen Ver\u00f6ffentlichung auf Gruenrekorder, dem auf Fieldrecordings spezialisierten Label aus Frankfurt am Main, ist Programm: \u201eThe secret life of the inaudible\u201c. Mit dem, was uns zwar soundtechnisch st\u00e4ndig umgibt aber gleichzeitig in der Regel ungeh\u00f6rt bleibt, besch\u00e4ftigen sich auf dieser gro\u00dfartigen 2CD zwei legend\u00e4re Klangk\u00fcnstlerinnen. Christina Kubisch und Annea Lockwood, die l\u00e4ngst nicht mehr aus der Geschichte der Soundart wegzudenken sind, sind nicht nur seit den 1970er Jahren aktiv, sondern kennen und \u2013 wie aus den ausf\u00fchrlichen Begleittexten erkenntlich wird \u2013 sch\u00e4tzen sich bereits ebenso lange. Umso erstaunlicher, dass es sich bei \u201eThe secret life of the inaudible\u201c um ihre erste gemeinsame Ver\u00f6ffentlichung handelt.<\/p>\n
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\nThough this double-CD collaboration between sound artists Christina Kubisch and Annea Lockwood comes with the kind of pulpy title one might expect from a \u201860s TV sci-fi episode, it actually represents the project content in literal terms. One of the more fascinating things about the recording (and something of which I constantly remind myself as I attend to its seventy-four minutes) is that the sounds presented didn’t originate as audible material but rather as non-audible phenomena and energy fields the artists translated into audible form. Even to characterize the originating materials as being below the threshold of human audibility is a misrepresentation when Kubisch and Lockwood, despite using different techniques, function as sound mediums, channels through which sonic waves sourced from natural and cosmic sources turn into listenable material. Issued in a 500-copy edition as part of Gruenrekorder’s Soundscape Series, the release presents four pieces, two of them credited to Kubisch and Lockwood individually and the other two collaborations.<\/p>\n
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\nMusik hat unter anderem die F\u00e4higkeit, zu unterhalten, zu beruhigen, zum Kauf von Dingen anzuregen, zu foltern, zu empowern. In dem vorliegenden Werk der beiden Klangk\u00fcnstlerinnen geht es um ihre F\u00e4higkeit, vorher Unsichtbares sichtbar zu machen. Um die Vertonung von Unh\u00f6rbarem. T\u00f6ne, die f\u00fcr das menschliche Ohr nicht wahrnehmbar sind, werden von den beiden so manipuliert, dass am Ende etwas herauskommt, das geh\u00f6rt werden kann, vielleicht wie Musik. In der \u00c4sthetik-Theorie gibt es die Vorstellung von Kunst als \u00bbdas Sich-ins-Werk-Setzen der Wahrheit des Seienden\u00ab. Das, was die beiden Musikerinnen zu einem Kunstwerk machen, ist schon immer da gewesen, und doch wurde es erst jetzt durch ihr Zutun wahrnehmbar gemacht und kann aus sich strahlen. Wenn Christina Kubisch im Booklet von \u00bbThe Secret Life of the Inaudible\u00ab \u00fcber die Arbeit Lockwoods spricht, sieht man diese Vorstellung mitunter best\u00e4tigt:<\/p>\n
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\nAptly named, Christina Kubisch & Annea Lockwood discover the unlovable tiny textures and tones that surround us with the beautiful symphonies of \u201cThe Secret Life of the Inaudible\u201d. Over the course of these extended pieces the two delve deep into the innermost workings of these miniature aural universes. Rhythms appear throughout but they are merely coincidence. By far the true draw comes from the way the textures shift and evolve. Despite their small stature, the pieces can grow to become quite loud, almost noisy at times. Difficult to fully imagine their miniature status, by allowing the intense amplification the sounds become transmissions from an otherworldly source, one that continues whether or not we notice it.<\/p>\n
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\n‚The secret life of the inaudible\u2019 is the first collaborative work of two of the 20th century’s most revered and important female sound artist\/electro-acoustic composers Christina Kubisch and Annea Lockwood. Using purely natural sounds, such as Volcanic gas vents, earthquakes, solar oscillations and ultrasonic tree sounds – as well as electromagnetic recordings from light systems and seismic research centers,transmitter systems and others, they build an ultra-vivid, immersive psychoacoustic mass of rare beauty.
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\nA cause of extreme disgruntlement for this writer is the passive awareness that the bulk of a lifetime was splurged on issues and people not belonging to a sphere of intuitions and considerations even marginally correlatable with his own. If one inaugurates the process of growth by being predominantly attracted by non-vocal emissions, it is foreseeable that \u2013 quite soon \u2013 attention will not be given anymore to individuals imparting sagacity via mere words, typically instilling some kind of dismay in the potential victim. In that sense, imagine the (adult) quotidian disheartenment for not having a chance to remain within essential acoustic domains when the calls comes; silence is mandatory to do that, and silence is by now a rare commodity. Finally, try to explain all of the above to someone blathering non-stop because convinced \u2013 possibly via previous trauma \u2013 or out-and-out pretending of living outside his\/her body, then get back to me for a good laugh together.<\/p>\n
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\nThese two ladies, grande dame each of them in the world of field recordings and sound installation first met in 1975 when Kubisch interviewed Lockwood for an Italian magazine, and since then off and on meet, but this is the first time they actually work together. They both like underwater sounds and Annea is interested in the force of nature influencing us, and Christina does the same with electromagnetic fields in our daily lives. They exchanged sound material together and worked on each other\u2019s sounds. However if I am not mistaken on each CD there is a solo piece. Annea Lockwood makes the inaudible audible, with ultra and infra sound frequencies, and it begins with \u201csolar oscillations recorded by the SOHO spacecraft, 40 days of solar oscillations sped up 42,000 times, and ends with ultrasound recorded from the interior of a Scots pine tree\u201d, and is a truly fascinating aural journey in space; or at least that\u2019s how I perceived it, like a free floating spaceship in a vast, endless, black surrounding, with sometimes intercepting transmissions from other life forms. In her piece with Kubisch there is a fine combination of six sources per composer and has a more down to earth feel to it. Sounds from electro magnetic waves, VLF whistlers and earthquakes make up from very fine ambient piece of music, without betraying it\u2019s musique concrete roots. Kubisch keeps her solo piece shorter than the collaborative piece and is a thirteen-minute excursion in the buzzing whirring of modern day city life. It is a very solid piece of ambient sounds, not loud or alienating, but just solid. It is perhaps a bit of standard solid piece; nothing special or out of the ordinary. But then her longer collaborative piece, \u2018Below Behind Above\u2019, is on the other that something special. It works very much along similar lines as the Lockwood side of the collaboration. Here too things remain on a very ambient side of things, with slowly fading sounds somewhere in the mid-range, sine-wave like and very gentle, along with a more \u2018stand alone\u2019 sounds, rumbles, pitches and the occasional earthquake. This is a beautiful and intense piece of absolute beauty.
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\nDrau\u00dfen vor der T\u00fcr: Field-Recordings und Sound-Art von Gruenrekorder
\nGruen, gruen, gruen sind alle meine Farben \u2013 bereits zum dritten Mal in Folge eine Gruenrekorder-Kolumne in testcard. Wie immer kommt man aus dem Staunen nicht heraus, wenn man sich die Ver\u00f6ffentlichungen des Frankfurter Labels anh\u00f6rt. Unerschrocken und ohne mit der Wimper zu zucken haben sie die Ger\u00e4usche von laufenden Filmprojektoren auf Vinyl gepresst: Sounds Of The Projection Box<\/a> hei\u00dft das Album von MICHAEL LIGHTBORNE<\/a> und es dokumentiert das Rattern der Maschinen, deren Ger\u00e4usche \u00fcblicherweise nicht aus der Kabine von Filmvorf\u00fchrern hinaus dringen. Ger\u00e4usche, die vom Aussterben bedroht sind, weil Filme ja mehr und mehr digital an Lichtspielh\u00e4user \u00fcbermittelt und dort abgespielt werden. Insofern wird hier akustisches Kulturerbe archiviert, und wer die Platte auflegt, kann sich bei geschlossenen Augen in die Rolle des Filmvorf\u00fchrers imaginieren und zus\u00e4tzlich versuchen, den Tonspuren bzw. -fetzen der ablaufenden Filme ein zus\u00e4tzliches Narrativ abzuringen. \u00c4hnlich abenteuerlich auch die Aufnahmen von GREGORY B\u00dcTTNER<\/a>, der f\u00fcr Voll.Halb.Langsam.Halt<\/a> die Fahrt eines alten Dampfschiffes, eines Eisbrechers dokumentierte, bearbeitete und sein Vorgehen sowie das Ergebnis wie folgt kommentiert: \u201eI had the chance to take a trip on the ship from Rostock to Ru\u0308gen over the Baltic Sea in 2010. The body of the ship is completely built from metal, so it is a big resonant room which sounds very different on each spot which I put my contact mics on (I used two contact mics, so I could record in stereo). I walked around the ship, placing my mics on different areas of the ship and also directly on parts of the steam engine, which is still fired by coal. For the composition I only used the pure recordings without additional sound manipulations, only juxtapositions, transitions and cuts.\u201d Alles klar? Der Kahn bzw. das, was B\u00fcttner aus seinen Ger\u00e4uschen macht, kann locker mit Merzbow mithalten. Harter Stoff. Metallisch k\u00fchl, aber weniger krachend klingt auch Gasworks<\/a> von GERALD FIEBIG feat. EMERGE & CHRISTIAN Z. M\u00dcLLER<\/a>. Der Ort als Resonanzk\u00f6rper f\u00fcr Ger\u00e4usche bildet das Ausgangsmaterial f\u00fcr diese CD. Entsprechend r\u00e4umlich ist in der Tat viel von dem, was es zu h\u00f6ren gibt, organisiert: Echo und Hall spielen eine gro\u00dfe Rolle im Klangbild \u2013 aber auch eine dialekt-gef\u00e4rbte Stimme, die von der industriellen Nutzung des Geb\u00e4udes erz\u00e4hlt, kommt, erg\u00e4nzt um Ger\u00e4usche, zu Wort. So entsteht f\u00fcr das Gaswerk von Augsburg-Oberhausen ein Denkmal. Der gleicherma\u00dfen verspielte und dokumentarische Charakter der musikalischen Arbeiten verwandelt den fr\u00fchindustriellen Arbeitsalltag in eine geisterhafte Klangreise: \u201eDes gibt\u2019s heut\u2018 nimmer.\u201c Bemerkenswert. Maschinenmusik ist auch auf der Slotmachine<\/a>-10\u201c versammelt, einem Projekt von ACHIM ZEPEZAUER<\/a>, der von unterschiedlichen Musiker*innen jeweils 45 Sekunden lange Klangskizzen anfertigen lie\u00df, die in der Logik eines Spielautomaten und nach Zufallsprinzip geleichzeitig aufgerufen werden k\u00f6nnen. Realisiert ist das im Rahmen einer Online-Anwendung, die das Bedienen eines virtuellen Spielautomaten zur Erzeugung der Zufalls-Kompositionen zug\u00e4nglich macht, hier: http:\/\/slotmachine.kuhzunft.com<\/a>. Viel Spa\u00df! (Die 10\u201c dokumentiert nur einen kleinen Teil der gewisserma\u00dfen unendlichen Kombinationsm\u00f6glichkeiten.) Auch KATHARINA KLEMENT<\/a> liefert mit Peripheries<\/a>, einem akustischen Portrait der Stadt Belgrad, eine quirlig-nerv\u00f6se und herausfordernde Arbeit ab. Unter Zuhilfenahme des Stadtplans erstellte Klement eine kartographisch inspirierte Partitur. Verschiedene Lokalit\u00e4ten in der Stadt wurden aufgezeichnet und ineinander gemischt. So entsteht ein wahres Klang-Gewimmel, das beizeiten wirklich anstrengend sein kann. Ich empfehle nach Selbstversuch folgendes: Die Aufnahmen auf dem Balkon abspielen und die Balkont\u00fcre offenlassen, w\u00e4hrend man im Zimmer bleibt. So entsteht der Eindruck, drau\u00dfen sei Belgrad! Bei der Gelegenheit gebe ich gerne zu, dass mir im Zweifel die eher ruhigen Aufnahmen aus tropischen Gefilden lieber sind. F. Guyana<\/a> von MARC NAMBLARD<\/a> hilft sich vom Stress in Belgrad zu erholen. Allerlei hypnotisches Summen, Surren und Dr\u00f6hnen der Flora und Fauna von der Nordk\u00fcste S\u00fcdamerikas! Auch DAVID ROTHENBERG<\/a> hat wieder mit allerlei V\u00f6geln Musik gemacht und sich f\u00fcr Nightingale Cities<\/a> auch zus\u00e4tzliche menschliche Instrumentalist*innen dazu geholt. Die in Berlin und Helsinki angefertigten Aufnahmen geh\u00f6ren sicherlich zum zug\u00e4nglichsten Material in dieser Kolumne, die V\u00f6gel sind freundliche Wesen, die Musik ist es auch. Wer noch nie eine Gruenrekorder-Produktion geh\u00f6rt hat, kann vielleicht auf diesem Weg einen sanften Einstieg in den Katalog des Labels finden. Fr\u00fchlingsmusik. Ganz anders und noch besser: die Windharfen-Aufnahmen auf Path Of The Wind<\/a> von EISUKE YANAGISAWA<\/a>. Windharfen, gro\u00dfe Saiteninstrumente in die Brise gestellt, werden buchst\u00e4blich von der Natur gespielt und je nachdem, wo die Windharfen standen mischen sich unterschiedliche Umgebungsger\u00e4usche unter die bet\u00f6renden Kl\u00e4nge der Instrumente. Ambient Drone mit Seem\u00f6ve. Minimal Music mit Meeresrauschen. N\u00e4her an New Age Klanglandschaften waren Gruenrekorder vielleicht nie, und es schadet nicht: Absolutes Highlight! Das Meer rauscht auch auf De Rerum Natura \/ Dance of the Elements<\/a> von MERZOUGA<\/a>, die nichts geringeres als eine Komposition auf Grundlage des Lehrgedichtes von Lucretius\u2018 wagen. Soweit so ambitioniert, aber da muss man sich nicht abschrecken lassen. Musik ist immer Ausdruck von Ideen, hier eben einer dezidiert philosophischen. Und elektronische Musik eignet sich auch nicht erst seit gestern, zur Verdeutlichung, mithin Vermittlung abstrakter Vorstellungen. Und so knistert es kleinteilig, die Atome tanzen unsichtbar aus den Lautsprechern, eine Stimme fl\u00fcstert hier und da Versatzst\u00fccke in englischer und lateinischer aus dem Gedicht usw. \u2013 ein kurzeiliges, abwechslungsreiches und durchaus spannendes H\u00f6rerlebnis, das dem \u00dcberbau entsprechen mag; letztlich aber spielt es zum Genuss der Komposition keine entscheidende Rolle, w\u00fcrde ich meinen. \u00c4hnlich gelagert ist es wom\u00f6glich im Fall von The Secret Life of the Inaudible<\/a> von ANNEA LOCKWOOD und CHRISTINA KUBISCH<\/a> anzuh\u00f6ren. Die beiden Klangk\u00fcnstlerinnen haben sich Soundfiles von an sich bzw. f\u00fcr Menschen nicht h\u00f6rbaren geophysikalischen Ph\u00e4nomenen zur gegenseitigen Bearbeitung vorgelegt: elektromagnetische Wellen, Ultraschallwellen, Sonnenwinde\u2026 akustische Ereignisse also, die zun\u00e4chst technisch in eine f\u00fcr das menschliche Ohr h\u00f6rbaren Frequenzbereich \u00fcberf\u00fchrt werden m\u00fcssen und von Kubisch und Lockwood bearbeitet wurden, und die dann \u2013 wie auch immer das im Detail von Statten ging \u2013 daraus sozusagen dunkle Materie gewannen. Mich w\u00fcrde einmal interessieren, inwiefern, das geologisch-kosmische Quellenmaterial, wo es ohnehin in den h\u00f6rbaren Bereich \u00fcbersetzt und also synthetisiert werden muss, nicht auch anders, also mit weniger Aufwand, generiert werden k\u00f6nnte? Ich nehme behelfsweise an, es w\u00e4re nicht dasselbe! Wie dem auch sei, das Ergebnis fasziniert: Sunn O))) \u2013 Kindergarten dagegen. Finster dr\u00e4uende, pechschwarze Klangfl\u00e4chen. Wahrhaft infernalische Musik aus dem Reich des sonst Nichtwahrnehmbaren. Hervorragend.
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