FKL Symposium Soundscape & Sound Identities

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L.A.B. is based on the experiment of a soundscape performance laboratory. The

artistic idea is to define the environmental surrounding in relation to question and to

deal with the identity and different aspects of sound in the field of analog and

mechanical tools (no random access memory). The setting on "stage" is converted

as a laboratory that is starting to pulse and that is in constant transformation.

It could be a laboratory mindset that the three performers try to initiate. Against this

background the mechanical tools are used as the engine and basic raw material of

the soundscape performance.

One of the main questions are: how to deal with the material, how to compress and

how to find a way between the simple and the hyper-competitive attraction.

The analog and mechanical material:

Clocks, turntables, tape recorder, microphones, piezos, glass/water, toys instruments

(music box, xylophone, toy piano and other noisy kids stuff....), mixing desk and a 4

channel soundsystem.

All these elements interact with one another and produce a certain range of

possibilities for the audience to imagine, reflect or fantasize.

Delimiting the space by the vibration of time (clocks and piezos and turntable rythm).

Contouring a living and sonic landscape by manipulating time in real time. The

manifesto as a grammar of our language propose us a new path of communication

between its inhabitants. Based on a careful listening, the piece takes form as an

improvisation, a living and present organism.

Connecting to our inner memory, our dreams, we choose to develop an oniric

soundscape, a subconscious wood. The material of water as the material of our

imagination, flows in this linear and imaginative environment.

Relation to the space:

The sound creates a strong bond with its audience, because it blends directly into

the spectators life. So we create an immaterial communication. The interplay

between sound and space plays also an important role. Inspired of the surround of

Castello di Beseno the soundscape performance becomes detached from a concrete

situation. The "unknown" acoustic enviroment of the Castello di Beseno and its area

brings together two very different atmospheres and should be focused as a certain

participant, as the outer experiment of the performance.

The result is differently in every space.