Omfavnelser / Embrace it
When clouds appear like rocks and towers
Technical production: Øystein Kjørstad Fjeldbo
When clouds appear like rocks and towers is a site-specific sound composition made for a field outside RAKE Visningsrom. The sound is experienced in headphones designed to track position in space, and to receive the incoming weather forecast data processing the sound live. The sound material was collected throughout spring by aural investigation of Brattørkaia, listening, and questioning the ephemeral temporality of sound and its omnipresence.
When clouds appear like rocks and towers seeks for delicacy and subtle nuances in the everyday listening, and commits to follow sounds that require to lean towards them, to unfold in textures, or to remain faint. The lived sonic experience is initiated for the audience to encounter.
Magdaléna Manderlová (born in 1991, Czech Republic) lives and works in Trondheim, Norway. She graduated from University of Ostrava, Czech Republic, and Trondheim Academy of Fine Arts in Norway. Her work has an overall focus on sound. She bases her practice in continuous field investigations, grounded in he listening practices and acoustic ecology. Her projects evolve in site-specific sound installations, audio recordings, writing-sound or performances.
——— eam, eam, I am, I am attempting to attune, in a place where the wind swirls through flagpoles and masts, it is not easy to make distinctions between what I hear and what I recall I was hearing and what I believed I’d be hearing, and never could, and perhaps I will—yesterday, or the day before, next month, in this same place, at a different time, next year. I will have been told, some time ago, of bouncing surfaces and resonating emptiness in between them, which can be so much, and yet I must anchor all these words swirling astray across tenses or is it times, swirling like wind through flagpoles, I must anchor them to some hooks, yes you may have heard books, anchor them to something more and something else than descriptions, but: I’m told the work does not really exist yet. Doesn’t it? Practically not, if existing exists in terms of tangible setup, outcomes, display, evidence. But if I tune in that which moves the work to be, to become work; toward the conversations which go on in spite of the work not existing, and around its sense, around the sense of its possibility: then I know the work already exists, as tangle of hours and days spent tuning in, and of recordings before they were recorded, that is: systems of attunement, returns of symptoms, manners of connecting. The question is not the work, it’s how movements and memories articulate between the flagpoles, masts, bouncing surfaces, resonating emptiness. And then, amplification. I need to bend and lean towards these sounds. Who will receive? Who will tune in? Is amplification necessary, when certain signals demand to stay faint? Caught between the need to transmit faint sounds, and the high likelihood of not being received, I long for a type of hearing attuned to detect other faint signals, which won’t ever become loud enough because if they do, they get distorted and lose texture. Better to tune in the hearing, than to force a faint signal to scr —————
Daniela Cascella (2019)