#Lilypond rainshower full

I assumed there would be more qualities toįind. In simpler terms, what can I accentuate in sound that will make itĬonnect more easily to movement or light? Temporality was already Which qualities, in an element, can be accentuated to discover theĮlement’s potential for connections and kinship in a temporal Here is a short rendition of the questions and my findings. Research questionsĪt the beginning I had two research questions that I wanted to circle in Gradually formulated a strategy for transmedial composition. Miracle and as things became more clear I increased precision and I started fiddling about, juxtaposing things and hoping for a dialectic Glimpse, to isolate it and force it to show itself. Through this research project I have tried to recreate this This glimpse and my imaginative memory is the basis for organized Rather as a third something that could only exist between them. Not appearing in parallel as in dance and music, I imagine that what I had seen was a glimpse, a very short glimpse of aĬonnection between movement and sound, where they were parts of a common The initial experience and our imagination. Qualities that were hidden in our presence. The light of memory cast in a particular way can bring out Where a thing or happening turns beautiful in This points to a very interesting beauty, the kind that transforms anĮxperience in hindsight. After all things are indications before they become I didn’t think all this then, it’s only now that I can put Their initial connection is strong since they start out as if in Nothing else enters and connects more strongly to either and When Marius is finished, and the sound finishes in a similar manner as The connection is clear for the ten seconds between They start together but finish separately. And the sound continues ten seconds after Marius has Movement? They are both coming to a halt after finishing a similar arch (Verdensteatret 2007) thinking: Isn’t that sound finishing off Marius’ I recall sitting in rehearsal for the work Louder Had many situations where the amount of information was overwhelming.Īnyone attending would have to make choices of where to focus and what To slow, loud to soft, bright to dark and so forth.

#Lilypond rainshower full

Lights, sounds and music, all utilizing their full scales at once, fast We made large scale performances and installations. If it is dense and confusing Iįor many years I was a part of a performance group called In these rooms I can weave within the work from available Not yet drawn, connections not yet made or associations not yetįollowed. I consider a work’s poetic potential to be whatever room there is left USING CHANCE PROCEDURES TO ARRIVE AT FIXED STRUCTURES USING CHANCE PROCEDURES TO ARRIVE AT LIVE - ART MY STRATEGIES FOR TRANSMEDIAL COMPOSITIONīRING ME THAT HORIZON, SURROUNDING WORKS AND TRANSLATION I started fiddling about, juxtaposing things and hoping for a dialectic miracle and as things became more clear I increased precision and gradually formulated a strategy for transmedial composition. Through this research project I have tried to recreate this glimpse, to isolate it and force it to show itself. This glimpse and my imaginative memory is the basis for organized time. After all things are indications before they become phenomena (Bachelard 1958, 176). I didn’t think all this then, it’s only now that I can put words to it. Nothing else enters and connects more strongly to either and their initial connection is strong since they start out as if in unison. The connection is clear for the ten seconds between when Marius is finished, and the sound finishes in a similar manner as Marius did. And the sound continues ten seconds after Marius has stopped. I recall sitting in rehearsal for the work Louder (Verdensteatret 2007) thinking: Isn’t that sound finishing off Marius’ movement? They are both coming to a halt after finishing a similar arch through the room. Anyone attending would have to make choices of where to focus and what to follow. This meant that we had many situations where the amount of information was overwhelming. Speech, movements, video, lights, sounds and music, all utilizing their full scales at once, fast to slow, loud to soft, bright to dark and so forth. For many years I was a part of a performance group called Verdensteatret.