| 1. |
-
Gränser och oändligheter – Musikalisk och litterär komposition, en forskningsrapport : 'Compositional' Becoming, Complexity, and Critique
- 2020
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- ur Förordet: Det övergripande forskningsprogrammet söker spåra några mindre delar av det vidsträckta landskap av mänskliga och icke-mänskliga betingelser, strategier och komplexiteter som ligger till grund för arbetet inom musikalisk och litterär komposition. Sektion 1 inleds med utdrag ur Tapeshavet av Gunnar D Hansson som är en text kring plats, natur, dikt och poetik, och där de geologiska beskrivningarna även blir en metafor för diktsamlingens egen organisationsprincip. Detta följs av reflektioner kring bakomliggande tankar, vidare gestaltningar, och meta-reflektioner. En del kompositionella frågeställningar tas vidare genom presentationer av och reflektioner kring ett antal musikaliska kompositioner, ljud-installationer och gestaltade konsert-föreställningar. Sektion 2 diskuterar litterära och musikaliska praktiker och skilda verksamma poetiker utifrån bland annat Inger Christensen, Elfride Jelinek, kommissarie Maigret och Bengt-Emil Johnson, samt en avslutande epilog kring symmetribegreppet. From the Preamble: On the whole the project can be said to trace some small parts of the vast landscape of strategies and complexities underlying musical and literary composition. The artistic investigations in different ways take their point of departure in some of the textual, musical, and informational conditions for related artistic work. Would it be possible to expand some of our lived metaphors by looking at these different levels and areas of complexity and time, how they are connected and why we might interpret and inhabit them as we do? Addressing the physical (biological) and cultural complexities we and our artefacts both are made out of, and dynamically move within, and in doing this, in some way, try to “ignore the right details, [...] still preserving the essence of what is complicated” as Carina Curto puts it in an article in Quanta Magazine. But also, through some of the subprojects, in different ways address conventional metonymical concepts and compressions like ‘a poem’, ‘listening’, or ‘a (musical) composition’.
|
|
| 2. |
- Hultqvist, Anders, 1955, et al.
(författare)
-
Entropi
- 2023
-
Ingår i: Caernarfon Wales, Cei Llechi, 26-30/11 2023.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The exhibition takes the concept of entropy as a starting point to explore materials, place and their transformation over time. It is grounded in Cei Llechi, a new creative development which attracts local visitors and tourists, and a charged historical location of production and industry, where slate was formerly shipped to other lands (Cei Llechi meaning ‘Slate Quay’). The quay was once an important part of the area’s transportation system with direct rail connection to the Nantlle quarries from 1828 and to the national rail network from the 1860s. Beyond slate, the site has been host to a range of materials, their making and transformation, with traces found of netting, boat-repair, copper and coal-bins, ship and wood yards, limekilns and a foundry. ‘Entropi’ is the Welsh word for ‘entropy’, which denotes at once disorder, decay, as well as transformation. In scientific terms, it is the way organisms, ecological as well as technological and humanoid, propel movement between one state to the next, whereby wholes become the sum of their parts, in shifts of nonlinear ‘emergence’, as a system reacts, interacts, and incorporates its environment. Some of the most inspiring results of entropy are found within organic processes such as the unfurling of a leaf, the following of the Fibonacci sequence, the rotating, replicated and increasing patterns and swirls of nature as they appear, flourish and die. Another may be the stretching tendrils of mycelium as its hyphae reach out through the soil to initiate further networks, fruitings and connections, and over time, these fungal links will shift, alter and die away as they respond to their ecology and form new ones. We see this within communities too, as patterns of invasion, colonialism, settlerism, creating new social, cultural and political structures, whilst others will fall away. Not least as emanating within Cei Llechi where the exhibition is based, a void of time and space where slate was formerly shipped to other lands. The creation and destruction of entropy present by those that remain, the new socio-economic development of ‘The Makers’ site to attract tourism, takes its place; the language as pushing through, the stories of the land and ancestral connections, fruiting in defiance, as connective generations of hyphae emerging. Participating artists: Lucy Finchett-Maddock Manon Awst Catrin Menai Gwenillian Spink Distant Animals Anders Hultqvist
|
|
| 3. |
- Hultqvist, Anders, 1955, et al.
(författare)
-
Hur låter Tapeshavet?/ What does Tapeshavet sound like? : Tapeshavet – Hörspiel
- 2020
-
Ingår i: Gränser och oändligheter – Musikalisk och litterär komposition. - Göteborg : Konstnärliga fakulteten. - 9789198517163
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- We wanted to investigate the historical and sounding landscapes from which the book Tapesha- vet originated and made an expedition to some central places on Härnäset in Bohuslän. What were the “conditions” from which the poems had arisen, and what were the soundscapes that, at least partly, formed the basis for the “singing”? We visited the quarry in Ed, shell gravel slopes at Röe homestead, Fågelviken with its gunpowder store, and Näverkärr’s forests. The voices in the Tapeshavet Hörspiel (Hansson & Hultqvist, 2020) approach four different levels of narration: shorter (poetic) excerpts from Tapeshavet, documentary in situ comments and conversations, stories in and about special places, and to that some reflections on the research project in general. In terms of sound the material largely consists of ambient (environmental) sounds, micro-sounds (close-ups of natural sounds), performances on natural and created found objects in search of their sounding properties, as well as further processing of environmental and object sounds.
|
|
| 4. |
- Hultqvist, Anders, 1955, et al.
(författare)
-
Invisible Sounds: ecological approaches to nature, culture and technology
- 2020
-
Ingår i: PITEÅ PERFORMING ARTS BIENNIAL.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper discusses participative approaches to sound art, and how such artistic and scholarly practices may be enhanced through the use of immersive technologies. It builds on preliminary results from Invisible Sounds, both a Compositional and an Ecological Sound Art project which explores place through the minute detail of sound and vibration, also beyond the limits of human listening. With participation and artistic action as method, the project wishes to create novel understandings and heightened awareness of our environment, [...] seeking to highlight nested ecological spaces through a widened sense of sound and place. By studying structurally meaningful musical and sonic interaction through combining instrumental and sound composition with sensor technologies, the project also aims to expand some of our human understanding of, and engagement with, the ”more-than-human” world. Our discussion draws partly on Tim Ingold’s critique of the notion of soundscape, and its implications for an understanding of our relation to nature and culture as based on participation, thus emphasizing the situatedness of human cognition.
|
|
| 5. |
- Hultqvist, Anders, 1955
(författare)
-
Light Winter Light
- 2020
-
Ingår i: New Sweden – Norrbotten Neo 10 Year Anniversary Box. - Piteå : Studio Acusticum.
-
Bokkapitel (refereegranskat)abstract
- “Light Winter Light” – Linné’s “Flowerclock”, the writings about the travel to Lappland and a ‘growing’ mathematical series are the inspirational grounds I’ve used in making the piece Light Winter Light. In Linné’s flowerclock – Horologium florae - the blooming and closing of different flowers is used to depict the fleeting hours of day and night. This Linnéan idea of a ‘biological clock’ has since the 18th century inspired many artists in different fields. The idea of time passing through the flowers are incorporated into the piece by ten different musical ideas unfolding and closing and by that determining the different formal parts of the piece. The basic material, eg. frequencies and rhythms, that makes up the sounding material of Light Winter Light, from minute details to larger patterns, evolves in relation to the Lucas-series – 2,1,3,4,7,11,18,29,47,76,123,199... which can be seen as a variation of the Fibonacci series. In his writings Linné reveals a great admiration for how the Laps led their lives and states that we should take there ‘natural’ living as a role model for our own existence. As a token to this there are parts of a ‘samisk jojk’ discretely showing itself at the end of the piece, but its shadow also spreads out into wider areas of the music.
|
|
| 6. |
- Hultqvist, Anders, 1955, et al.
(författare)
-
Sounds by Water and Trees
- 2024
-
Ingår i: Konserthuset, Stockholm 13/1 2024. - Gothenburg : Footprint Records.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Sounds by Water and Trees was created through a participative approach to the sonic environment, where performers produce sounds in dialogue with a specific site: an approach to environ- mental sound art that moves beyond preservation, as a model of ecology, towards interaction and co-operation with the environment through participation rather than representation. ’Natural’ and man-made sounds become enmeshed in and through a network that in many ways instantiates itself. There’s no inherent hierarchy of importance in the flow of sounds, and in the systemic flow different sound constellations emerge as occasional forefronts of the overall soundscape. A sort of recursive dependency evolves in the way sounds of different origins grow out of, and in relation to, each other. Sounds by water and trees: the sound of water rising in a tree at dawn; the wind sonified by an aeolian guitar; the cyclic pounding from the sawmill; the waves hitting the shore as a power boat passes by. But Sounds by Water and Trees is essentially an attempt to stage a set of interactions between human and environment, wherein at times the intentionality of the sound produced by the wind and the waves has a similar agency to that of performers and composers, all engaging in the shaping of sound.
|
|
| 7. |
- Hultqvist, Anders, 1955
(författare)
-
Untitled Landscape
- 2023
-
Ingår i: Reykjavik, Mengi 25/10 2023.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Untitled Landscape (Tr. Poeticus-Sonans) Anders Hultqvist Prel. version 2, 2023 Instrumentation: Violin, Viola, Cello, Harpsichord Japanese singing bowl, Glass rods (ø ≈ 4-5mm), Plectrum Durata ≈ 37' The parts in the piece are ordered with the mathematical logic of Wittgenstein’s Tractatus, which is also reflected in Gjessing’s poetical comment Philosophico-Poeticus, and in addition takes some inspiration from the sequential logics of the seven main propositions of W. When re-reading some of the propositions by W there seems to sometimes exist a closer connection then at first recognized. Even if more sensually based propositions are scarce in Tractatus it includes propositions that point towards more relational than strictly functional properties. In a letter he writes: "Objects also include relations; a proposition is not two things connected by a relation. 'Thing' and 'relation' are on the same level." This could be seen as a kind of background to what he writes in Tractatus’ 3.1432: ”Instead of, ‘The complex sign “aRb” says that a stands to b in the relation R’, we ought to put, ‘That “a” stands to “b” in a certain relation says that aRb’.” It's not far away to think of musical structures where frequencies and rhythms define each other in iterating hierarchical loops. All the time, through its mere coming to being, searching for what is not possible to say (in words). The ‘propositions’ of the piece builds on basic, or conventional, musical tropes that through their relative relations try to instigate a meta-comment, a Poeticus–Sonans, in the vicinity of the thematic of the two books; What is, and what is possible. The internal gestural topography could be seen as having a formal progression going from material soundings to wider and wider musical movements/gestures to hierarchical structures: e.g., from toneless brushing (on strings and instrumental bodies) – long notes (sounds) – large finger vibrato – ¼ note (up-down) – glissandi – singing bowl wobbling (within harpsichord) – trills – arpeggios – minimalistic (mordent) figures – musical gestures (heterophonic aggregations) – to phrasing – complex rhythms – and contrapuntal structures. 35 sections in the piece following the form of Tractatus in having seven basic propositions with comments, and comments on the comments.
|
|
