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a r t i s t : Jgrzinich
t i t l e : Insular Regions
d a t e : 2005
l a b e l : Sirr 0021
g e n r e : Avantgarde
r l s. d a t e : Aug/2005
t r a c k s : 02
b i t r a t e : VBRkbps
s i z e : 88,9 MB
_______________________________________________________________________
This work is comprised of two extended compositions with the
source material used being specifically collected over a
year-long period from the small village of Mooste, Estonia.
The sources range from field recordings from the local
structures and environment to found instruments and spontaneous
sound interventions. The relative quietude of the village and
its surroundings offered an inviting situation for extended
studies of the acoustic environment throughout the seasonal
cycles.
Mooste is not a likely place to make an obvious appearance on
many cartographic or social maps of Europe. It is said to be a
"normal" Estonian village, a small rural community that
reflects on traditions of past histories and works to shape an
identity following the period of soviet occupation. 'insular
regions' developed out of a location-specific situation where
the composer chose to establish himself in this new 'foreign'
place of practice.
As the artist moved into unfamiliar territories the instinct
was to seek an [acoustic] engagement in the process of
re-location and re-placement of his previous [transitional]
positions.
---------------
John Grzinich has been working mainly with sound since 1995
although he integrates video and photography as visual elements
into his work. He has performed and worked extensively
throughout Europe and the US publishing a number of CDs on such
international labels as Staalplaat (NL), CMR (NZ), erewhon
(BE), Intransitive Recordings (US), Orogenetics (US), Elevator
Bath (US), Pale-Disc (JP), Digital Narcis (JP), and Cloud of
Statics(CH). These works consist of solo productions
collaborations with mnortham, Seth Nehil and Frequency Curtain
(Josh Ronsen, Rick Reed, jgrzinich).
http://www.kaon.org/~jgrzinich/
Currently he is a project and media lab coordinator for MoKS
(Mooste KⁿlalisStuudio), an international artist residency
center and project space in southeast Estonia. MoKS was founded
in 2000 as a cooperative organization of people dedicated to
artistic, social and environmental research in rural Estonia.
Each year MoKS hosts a number of visiting artists, workshops,
projects including the international summer arts symposium
"PostsovkhoZ". In October 2004 MoKS hosted "Pushing the
Medium", an international symposium for experimental sound and
video artists.
http://mooste.ee/mogs/
[from the cd liner notes]
reconstructed notes from the field:
location: near an old barn (used as a granary) - time:
early-autumn afternoon
the constant hum of a large fan fills the area. from different
positions the sound affects the surrounding spaces by either
filling them or drifting in through the cracks. the sound
remains distant and I float around the edge of this audible
cloud and slowly circle in toward the source. found objects and
debris are moved or shaken while recording. these incidents are
clues of the acoustic qualities of the immediate space and
relative distance to the mechanical noise.
location: abandoned oil tanks - time: late-winter evening
the deepest period of seasonal isolation comes in the muddy
days just before spring. a set of empty oil tanks have hosted a
number of sound making sessions by various people. the steel
walled chambers are sheathed in insulation and offer a solid
hollow resonant space. on the way to the tanks that night an
owl could be heard in the distance. nothing else seemed alive.
I spent some time rustling objects until I found an interest in
the soft randomized interjections of tossed peas. with only the
weak glow of a distant light entering, listening becomes
intensified.
location: former estate mansion (local grade school) - time:
summer evening
the third session of the MoKS annual summer art gathering was
in full swing. one evening I conducted a group "sound action"
with some of the participants. we assembled in the main room of
the mansion and I had people collectively generate sounds in
different ways. in one instance we rocked and shook some wooden
sculptures being displayed in the room. after that I had the
group shuffle across the large wooden floor with varying
degrees of loudness. later in the evening I sat down alone with
the old stand up piano in the room to record resonances from
the wires. with several takes I hammered some notes to let the
instrument hum in the after-attack.
location: nearby forest - time: early winter evening
the highly active summers of the north always yield to the
dramatic solitude of the long dark winters. the first snow was
wet and melted upon contact with the trees. the drops fell
across the forest causing a delicate crackling giving the
feeling that the dead leaves were crawling back to life. after
some time the cold dampness forced me to retreat to shelter but
the image of the moment still remains.
location: metal barn - time: late autumn evening
the old soviet structures remain in use although are rarely
repaired. the pieces of a corrugated metal hang in place and
shift about with the slightest wind. this evening it was
particularly warm with strong winds signaling a change in the
weather. the metal creaking of the barn could be heard from a
distance. evelyn and I entered and climbed up to top level to
feel the structure sway with each strong gust. every joint
seemed to shift ever so slightly as we sat listening inside
this hollow old body of aged metal bones.
location: nearby lake - time: mid-winter evening
the deep winter nights, when clear, offer a good view of the
night sky. a severe temperature plunge offered a clear starry
sky, so I went out for a walk. about 30 meters from the local
lake I heard something that sounded like a distant crash on a
metal tank. curiously I stopped to listen. silence for a bit,
then it happened again. I walked down to the the ice and
listened. the sound came again but this time it panned
dramatically from L to R across the span of the lake. it was
the sound of the lake freezing. the ice was solid enough to
stand on but shifting slightly, causing it to crack and warp
under pressure. there wasn't much snow cover so the whole
surface acted as a membrane pronouncing the immense force
emanating from the large but barely perceptible movements of
ice.
www.kaon.org/~jgrzinich/
on: insular regions
by jgrzinich
_sirr021
It's 6:30 in the morning while I'm listening to one of those
manufacts designed to modulate your living smoothness,
channelling unfinished thoughts and gruelling grief into a
stream of healing vibrations. Having captured all sounds in
Mooste (Estonia) and reworked the sources in the studio, John
Grzinich shows to the dead-end amateurs of this genre how a
drone based record should be done: the recurring sound waves
move like in a slow turnstile, setting the field for a
prodigious recycling of self-regenerating hidden fears; the
environmental echoes, coming out sparsely throughout the two
long tracks, expand the dimension of your mental room, which
gets ready to accept new forms of aural intercourse. Although
it's pretty much a gradual revelation process, "Insular
regions" rouses the awareness of the receivers, becoming part
of that moment of their life without imposition, just seducing
the nerves until it's a necessary presence.
__Massimo Ricci, Touching Extremes
_______________________________________________________________________
01-E 27 N 58 [18:09]
02-Second Portal [43:33]
-------
61:42 min