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Lost Sounds…


http://www.cafeoto.co.uk/cafe.shtm
Lost Sounds is a project that started with Rolf Julius, Miki Yui and Rie Nakajima in 2009 with the idea to explore sounds, the environment, objects and one’s visual acoustic perception. For the Lost Sound performance at Café Oto on 11th February 2011 Miki and Julius developed the idea and the concept together. Sadly Rolf passed away on the 21.January 2011 and the project now continues without his physical presence. There is an installation in the window of Café Oto, where I found myself listening to a stone. href=”https://ceberhart.files.wordpress.com/2011/02/miki-yiu-21.jpg”>href=”http://www.cafeoto.co.uk/cafe.shtm”>http://www.rienakajima.com.

I had not come across this important german pioneer in the field of sound art before and it is and with great delight that I am made aware of his work and his valuable contributions in terms of drawing attention to our visual and aural senses.
Rie Nakajima is a sound performer and sculptor based in London, has exhibited world wide and more recently at the Sound Fjord Gallery.
href=”https://ceberhart.files.wordpress.com/2011/02/miki-yui.jpg”>Miki Yui, http://www.mikiyui.com, performed and played the first part of the concert. It consisted of three small parts, a mirror, a pot , and space, laid out on three tables in the Centre of Café Oto. Here is her describing it:
Mamagoto is manegoto
Manegoto, imitation, is a common game among children, remembering what on heard or saw; imagine and learn through imitating. Mamagoto is an imitation of adult culinary practices. ‘mamma’ is from baby-talk, meaning food, especially rice; while ‘goto’ means the thing, or the act in Japanese. The sound recorded during the performance becomes ‘mamma’ a food for our imagination to play with and put back into the pot to complete the mamagoto installation.

Miki Yui’s piece transported the audience into a gentle meditative space, the baby in the audience gurgled happy sounds, the traffic subsided in the distance.

This was followed by 3 pieces of music by Rolf Julius: behind the shadow, music in a corner and für einen kleinen See.
Due to the projects currently organised by Rie Nakajima, both at Café Oto and at Sound Fjord. I am experiencing a kind of relearning of listening. With new ears I find and listen out for interesting and informative little sounds in everyday life. Rolf Julius called it Small Music. Acute hearing is not something we are used to . Most of the time we are concerned with shutting out noise and separating noise. The constant backdrop to living in a city, is its own music, but it also means that little noises are often overlooked. The sound scapes at the concert included both environmental and electronic sounds and are unlike a melody or song that produces instant emotional responses. Julius’s sound compositions produce innovative new sound that echo and support the visual actualisation of the subjects. In his own words, the sound is equal and interdependent with the objects/subjects he is working with. From that premise he builds and composes new unfamiliar ‘spaces’ for the viewers and listeners imagination.to orientate in.
http://www.degem.de/news/rolf-julius-1939-2011.html
http://tristanlouthrobins.wordpress.com/?s=Rolf+Julius
http://de.wikipedia.org/wiki/Rolf_Julius#Tontr.C3.A4ger
As an example of his concepts, I would like to mention an early work of Rolf Julius in 1980 : ‘Konzert für einen gefrorenen See’.
Concert for a frozen Lake in Berlin was a piece , where with the help of several loudspeakers Rolf played piano compositions in the hope that the lake itself would become music. The project was halted by police for reasons of noise disturbance.

Further from the catalogue accompanying the installation at Cafe Oto:
Rolf Julius “Small Music (grau)” published by Kehler Heidelberg, 1995
My problem with the glass plate onto which I had sifted gray cement pigments: The glass was 1m2 in size and the cement color a little too dark for the gray sounds I had prepared for the piece. I could have purchased a lighter id of cemtn, bu tdecidd to change the color of the music by reducing the tape speed until the two grays matched. But what about the size of the suface, how do color survace and sound surface realte to each other? And how dense were the musical molecules? I had the feeling my music would just barely be enough for 0.8m2 plate. So How gray is gray
I had to make corrections, I had no choice but to purchase a smaller plate of glass.

1995

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