Vodou vibrations sounds of memories of fields and burdens living in translations and broken bows balancing on plateaus while speaking to one self and scratching the surface of the raft while drifting away

Tacit or Loud: where is the knowledge in art?
Symposium and festival for artistic research
Nov 16-Dec 3

Nov 28
Opening of the symposium

Inter Arts Center

Red Room

Post Human
Black Room

Reiterations of Dissent
White Room

Choreo Graphia

Body on street
Nov 28, kl 16:16 Möllevångstorget.
The workshop will be between 16:15 – 17:45

Post Human
Black Room

After Yeats:
a networked
Red Room

Abstract and program notes

Stefan Östersjö


The Six Tones / Marie Fahlin / Matt Wright

Inside/outside is an installation and performance work for three choreographed musicians. Initially, the spectators find three glass boxes, illuminated from different sides by spotlights in the dark room. In each box there appears to be a statue of a musician in traditional Vietnamese queen costume. When the audience moves through the space, the reflections in the boxes create a primary level of being inside and outside the boxes. You see yourself inside the box, and you see the performers reflected in each other’s boxes. Many questions may be raised by the scenario with the musicans, who eventually begin to play a cut up version reading of traditional Vietnamese music: What are these three individuals in traditional dress doing in there? Why are they here? Do they even have a visa to be in the country? Why are we watching these three Asian “women” inside glassboxes? What is the nature of the gaze coming from the outside?
By the glass boxes you find headphones in which you can focus on the music played in a specific box. In the room is a constantly shifting soundscape of instrumental and electronic sound. The electronics and live-mixing is performed by the composer and improviser Matt Wright. Through these shifting layers that the audience can explore, yet another layer of inside and outside is created.
Building on an analysis of gesture in the performance of traditional Vietnamese music in TV-shows, the choreography of the performance merges with the music that creates a web of sound merging traditional Vietnamese music with experimental Western approaches.

Post Human computation
Pierre Jodlowski

The starting point for this piece was a proposal from the guitarist Stefan Östersjö to take part in the “Inside /Outside” project in collaboration with the Vietnamese/Swedish group The Six Tones. This ensemble consists of two Vietnamese traditional musicians as well as Stefan himself. In this project, they perform in glass boxes and the audience can look at them, listen to what they are playing separately “inside” of boxes as well as listen to a quadrophonic soundscape in the room, mixed live and with real-time sound processing.
When I first discovered this project I was deeply interested in the question of the “viewing process” and in some kind of reality transgression. Therefore, I proposed to Stefan to work on some kind of extension of this situation where the two traditional musicians would become virtual, as a part of a film, while he would perform live on electric guitar. Here also, the question of “viewing” and the gaze of the audience is essential and creates some special relations between the live performance and the imagery.
When I started to shoot the video, I firstly focused on the traditional instruments, trying to catch some special matter with close views and contemporary playing techniques. But quite soon, I also became concerned with more overarching questions, especially how, we as occidental, consider the oriental culture. I started to see those two women musicians as some archetype of Asian culture and I decided to look deeper into this subject. I did some research on the status of women in Asian countries, investigating their role in industrial production, army, entertainment etc… and I found some pictures on internet that I decided to include in my film editing as a reflexive counterpoint.
In a lot of my projects, I try to remain aware of what is going on around us and part of my artistic world is linked with this general collapse of knowledge and values directly linked with the development of a critical neo-liberalism all around. In such a world, the relations between occidental and oriental countries are not at all defined by cultural enrichment but more by some wild competition where everything becomes business. Indeed, what happens if somebody search on internet for “Asian women” ? What kind of result should we get from such a question ? The representation of the world we could get from there may be quite scary, in a way surreal…
I was thus digging on internet and collected a lot of pictures that I included in my editing. I reached some strange world, a strong distortion of perception, where everything you see seems unreal. Some kind of post-human situation, totally out of control.
Finally, those two traditional musicians, Ngo Tra My and Nguyen Thanh, appear in this film as “simple characters” who look at us or, in a permanently shifting viewpoint, who are the ones we look at. Traditional instruments (as pictures or sound) appear here and there as some relic of a lost world, recovered now by something else, much different.
In the film, we can observe also two landscapes (in the middle and at the end of the piece). They should bring us “outside” but here again they bring us to some strange reality. Indeed, those two very slow journeys are not real at all. I made them artificially from still pictures but I tried also to preserve some strong ambiguity…
The first landscape is a view of an abandoned factory in Detroit, a symbol of economical collapse. The second is a montage of a devastated village after the tsunami in Fukoshima, a symbol of ecological collapse. Disaster here creates another disaster there… maybe these are now the relations between occident and orient?
The musical layers have been composed as a counterpoint to the rhythmical patterns created by the imagery. The music can be minimalistic or very dense, sometimes quite independent from the video, sometimes precisely synchronized. The soundtrack uses a mix of traditional sounds, sound synthesis, electric bass and percussion and the guitar part includes a few typical Asian style techniques but more often a heavy rock sound… But beyond the music, the situation itself should be constantly stimulating through the relations which occur between the real gesture and presence of the musician and the mutating state of matter in the video. And in such a world, we can also ask ourselves the question what really remains from guitar hero? This piece is dedicated to Stefan Östersjö who took the first step to initiate this project and trusted my intuitions. And also to Ngo Tra My and Nguyen Thanh Thuy, who accepted to present themselves not only as the fantastic musicians they are, but also as simple (and true!) human beings.

Reiterations of Dissent

Jane Jin Kaisen

The multi-channel video installation, Reiterations of Dissent, concerns the suppressed history and fragmented memories of the Jeju April Third Uprising and Massacre of 1948, during which genocide was committed onto the civilian population on Jeju Island by the South Korean military and police, under supreme command of the United States Military in Korea. The event marks the beginning of the Cold War in Asia and is crucial for understanding the division of Korea. For those reasons, any mention of the event was systematically suppressed for more than five decades. The work is composed of six different video narratives – Ghosts, Jeju Airport Massacre, Lamentation of the Dead, The Politics of Naming, Retake: Mayday and Island of Endless Rebellion that portray how the event resonates in the landscape of Jeju Island, in literature, in the memories of survivors and relatives, in shamanic rituals mediating between the living and the dead and in the ongoing resistance against the construction of the Jeju Naval Base. Enacting different audiovisual registers and editing techniques, I suggest that Reiterations of Dissent explores an alternative language to conventional documentary filmmaking and challenges relationships between text, image and narrative. Each video narrative shows a different aspect, a different attempt at approaching the Jeju April Third Uprising as an unstable episode of modern history by presenting a multi-layered archive of experiences, events and perspectives.

Choreo Graphia

Marie Fahlin

The idea of Choreo Graphia draws on the etymological meaning of the word Choreography, dance writing. Choreo Graphia, which is a prototype, is a collection of choreographies in the form of text, sculpture and collage that are presented as an installation in a room, to be visited by one person at a time. During the time spent in the room the visitor can engage in different kinds of readings of the choreo–graphies and by engaging in a transformative process where the notations, through the “reading” by the visitor, is embodied and from that moment the choreography is situated within the body of the visitor. The questions related to the project deals with transmission, how the act of “reading” transforms to a body of knowledge.

Body on street
Cecilia Parsberg

Presentation and discussion of Cecilia Parsberg’s workshop Body on Street. The informal politics of distribution on the streets makes visible the faults inherent to the European welfare system. At the same time it contributes to the immediate survival of individuals. Cecilia Parsberg investigates the choreographies of European giving and begging. The begging is fairly new entrant into the street space and there are many who do not know how to relate to this, physically and mentally. How does it feel? I experience a distance, almost a gulf between me and those who are begging. Overall, it feels like the street’s atmosphere has changed; something has happened in the social climate that feels substantial and yet not defined. Is it solidarity, the ability to be touched? How does it feel for you? Would you like to participate?


The Six Tones / Marie Fahlin / Matt Wright

Post Human computation

Pierre Jodlowski

After Yeats – a networked performance

CCRMA / The Six Tones

A year ago, The Six Tones were commissioned by the online journal “Verse Junkies” to do a piece from a reading by a Thai poet, Zakariya Amataya. We were all quite taken by the political urgency and poetic power of his writings, and perhaps most of all, by the strange music that emerged from working with his reading and immediately started talking about releasing a CD continuing along the same lines. In 2014 we are now planning to record a CD to explore this initial encounter further.
We chose to work with the reading mainly from a musical perspective, though we did also have a translation to English. The process was such that we first made a simple graphic score outlining the tonal patterns and rhythmical shapes in the reading. Then, we recorded the music in an additive process, where each musician would listen to the reading and then improvise a part along with it, also reacting to the score. We added interludes between the verses in the poem, gradually expanding the piece to a musically more interesting shape.
We imagine to explore this method in this concert in various ways. One approach is to make a version according to a project by the American composer Bill Brooks. he describes it in the following way: “After Yeats is not a score for performance but rather a method for determining a score; it extends W. B. Yeats’s practice of poetic declamation to languages other than English. After Yeats describes a collaboration between a performer, who declaims a Yeats poem in translation, self-accompanied by a plucked string instrument, and a composer, who works at a remove to observe and amplify the implications of the declamation.”
Nguyen Thanh Thuy’s reading of a Yeats translation to Vietnamese is now becoming the source for a new composition by Henrik Frisk. the intention is to use this material also in a further development of a more complex composition by The Six Tones in the spirit of “With Only My Hands”. This networked performance with musicians at the Inter Arts Center and at CCRMA, Stanford University also relates to the ongoing research collaboration between Lund University and Stanford concerned with the relation between music and language.


Tacit or Loud

Festival program

– Inside/outside
– Post human computation
Arrival Cities: Hanoi
– The Fourth Dimension
– Vodou [...] 
– Il Se Tourna
Possible Worlds
– Face
– Inde
– Choreo Graphia
– Facet II
– Portraits

– Voices-of-No(i)sense
– [choreo] logy ⏐ carto [graphy]
– Reiterations of Dissent
– Body on street
– För den som i hemlighet lyssnar
– Gynoides project
– Violence and Pedagogy
– Knowing "I"?
– That’s all we shall no for truth
- Through Composition as Explanation
– Synsmaskinen

Symposium Nov 28-Dec 3
– Nov 28
– Nov 29
– Nov 30
– Dec 1
– Dec 2
– Dec 3

– Keynote speakers
– Presenters