Found Compositions are ongoing projects about exploring the poetic ideas of early sound theorists and found objects. They can grow in time into bigger events. Found Compositions imagines new ways of listening to sounds in the here and now, forms of attention that require the creation of new instruments and hearing apparatuses. How can we capture and amplify the sound of something that we cannot see? You need a translation, you need an instrument that can translate it into sounds.

 

  • small-little-poo-composition-frouke-wiarda
  • small-little-poo-composition-frouke-wiarda
  • small-little-poo-composition-frouke-wiarda
  • small-little-poo-composition-frouke-wiarda
  • small-little-poo-composition-frouke-wiarda
  • small-little-poo-composition-frouke-wiarda

Goats and humans have a long productive and imaginary history together. When I was walking in the hills of Kefalonia(Gr), I observed their various poo-compositions on the road. They decorated the road, all the way up to the Mountain Evmorfia. Amalthea is often depicted as the goat that raised the young supreme god Zeus in Crete. In one of the Indian stories it is said that the prince of Hoekoe had a goat whose faeces were gold. And in China five Gods rode five different color goats bringing grains, wind and rain to the starving people.

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Goat’s disorganised compositions of feces on the road are somehow fascinating and inspired me to copy their score on a piece of paper to be used for a music-box.

The etching of acoustic traces onto the surface of the ceramic echoes the very earliest uses of the material as a simple writing or drawing surface, but I also explore other aspects of the relationship between ceramics and sound. The bone china has a really nice, crisp, ‘kkgghhh’. And you don’t really hear what I’m saying when I’m talking [in the recording], but sometimes you have a sense of, “ssshhh”, “aaaah”, “hheee”.

I used the principles of Helmholtz resonance to produce beautiful ceramic objects that are able to transform the sounds we hear around us.

The porcelain records and ceramophonic resonators demonstrate how the physical properties of different materials can be used to produce and manipulate sounds.

  • ceramic-lp-frouke-wiarda
  • ceramic-lp-frouke-wiarda
  • ceramic-lp-frouke-wiarda
  • ceramic-lp-frouke-wiarda
  • ceramic-helmholtz-resonator-frouke-wiarda
  • ceramic-helmholtz-resonator-frouke-wiarda
  • ceramic-helmholtz-resonator-frouke-wiarda
  • ceramic-helmholtz-resonator-frouke-wiarda
  • ceramic-helmholtz-resonator-frouke-wiarda
  • ceramic-helmholtz-resonator-frouke-wiarda

Before physics was introduced, the winds had the shapes of animals or humans. In the Middle Ages tricky winds were considered the domain of witches and wizards. In the creation myths of the southwest of the United States the first man was weak and lifeless, till the wind filled the body, gave it breath and thought and the ability to stand straight. And according to the Navajo Indians, it is also the wind that learned humans to speak. This is my first kitetrip.

8 concrete mixers, 8 players, 8 scores, 8 poles, grit, sand, water, glass, PVC, steel and wood. The performers have one thing in common: they never performed before, don’t play any instrument and they never played the concrete mixer.