Rozmanova ulica 12
1000 Ljubljana
Prostori: osmo/za

Theremidi Orchestra/Organism Chaos

< Theremidi Orchestra

Score for an ongoing workshop at CoFestival in Dance Theater Ljubljana (PTL)

Monday June 4, 2012 at 7pm

Duration 26min


After a number of ear cutting noise audiovisual outbreaks at the live public presentations of an ongoing workshop at LiWoLi Festival (May 2012, Linz), ŠKUC Gallery (April 2012, Ljubljana), Kiblix Festival (November 2011, Maribor) and elsewhere, Theremidi Orchestra has decided to open up a gentler noisy landscape at CoFestival. In accordance with the festival that nurtures cooperation, we are going to enable a better communication of the participants with a set of instructions to use as a guide through the unpredictable behavior and electromagnetic eruptions of home-soldered free electronic theremins connected to midi controllers and audio amplifiers.

The ongoing workshop is going to be enacted by 9 participants (Tina Dolinšek, Luka Frelih, Ida Hiršenfelder, Dare Pejić, Borut Savski, Saša Spačal, Robertina Šebjanič, Matic Urbanija, and Dušan Zidar) following 12 instructions (silence, loop, squeak, drone, rhythm, improvise, tone up, tone down, cut, quiet, loud). Maximum number of participants playing in one grouping at the same time is 5; duration of one time slop is 30 seconds. There are 40 time slops, 3 of them are mandatory silences at 4:33, 9:06 and 13:39 (a tribute to a guy who programmed his music), and two-times two slops are a free improvisation. A mandatory instruction for all participants for all 40-time slops is “Look at each other! Observe and listen carefully at other participants and be very attentive of the public.” The score matrix was generated using Composer Tools – Matrix Calculator kindly provided by Isac Petruzzi (http://composertools.com/Tools/matrix/MatrixCalc.html).

In order to follow a horizontal association between the members of Theremidi Orchestra there cannot be a conductor or a single person to control the behavior of the group. Likewise it cannot continue to perpetrate an arbitrary disorder and the audio chaos made by the orchestra in the past. The mathematic instructions are an experiment in organizing disorder into an organic chaos. It takes upon a history of process music in which the material is not determined directly by the composer, but through a system he or she creates. It is an aim to make space in the soundscape, to seek reduction and silence, since even silence itself is never silent.