Danish-born German-resident sound sculptor
Jacob Kirkegaard (1975)
devoted his audio experiments to
rediscover the "secret sounds" of the environment.
Soaked (may 2002 - Touch, 2002) was a collaboration with turntablist Philip Jeck.
01.02 (Bottrop-Boy, 2003) used turntables as source material to produce
soundscapes of digital glitches, faint beats, anemic drones, instrumental melodies and field recordings.
Eldfjall (Touch, 2005) used the sounds of the Earth itself (captured through microphones buried underground in a region of geothermal activity) to construct calmly dissonant music.
4 Rooms (Touch, 2006) was an exercise in "deep listening" with a technique borrowed from Alvin Lucier and implemented in four abandoned rooms in the region of Chernobyl's nuclear disaster.
The 38-minute piece of Labyrinthitis (Touch, 2008) was basically an
exercise into paradoxically listening to a ear (or, more precisely, to the sounds generated in the artist's inner ear), while musically producing a cascading stream of drones and overtones.
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami