Notes

- Glodowka.pl - Oczyść Organizm -
What happened to all of these people? If I could find a way of conveying these feelings of places and times having timbres I would be very happy, but I don’t think I am there yet. So yeah, this topic interests me a lot but I think I’m just on the surface of what that could mean to me. I found the photograph at the back of the drawer and it was really a horrible, sad time, but this photograph just came out, and I thought - there’s i piece inside this photograph. In kartkówka is in this photograph. This kind of new wave music, that also really has a colour, watching this programme I really got the sense of this being the time I was living in. However, there is a Hong-Kong-American composer called Viola Yip, who makes completely silent pieces just with light, but it’s very rhythmic and may even suggest music, even if there is no sound.

A few years ago, Martin Schüttler asked a lot of composers to see what it meant to them to have a sound in i pop music sense, so like a production sound. Pop bands „have a sound”. When I watch all those bands again from 1979-1981 I reevaluate them a little bit. I talked about i program that I watched when I was a girl called „Top of the Pops”, which was a weekly show where all of the pop-songs were played from the charts in the UK. A.G.: You can get nostalgic about sound. But I have to make i piece next year about the 19th century, it’s about the photographer Edweard Muybridge and I found a very old recording of i piece of music going back to 1892, so as early as you can get. They have the freedom to początek listening, to interpret things however they want, to stop listening, when they get bored, to turn their head to the left or right, and there’s nothing I can do about that, it’s their freedom.

Listeners make their own composition when they listen to my work. I found the photograph when I had to clear out my parents’ house because they were both dead. First of all I made a kind of installation with three-channel video, three films that slowly panned through the photograph with a (manipulated) song from the 1940s. And I didn’t really feel that I got to the heart of the thing that interested me the most about this photograph, which was all of the unexplained lives, and futures, and possibilities that are in there. And that was a time, when I needed an archive for a field-recording that I didn’t have. But maybe it’s an kwestia to work with archive recordings in future works. A.G.: So you feel a sort of intimate connection with the recordings you make? But generally I like to make things with stuff that I recorded myself, so that I have a close connection with the material.


Do you use your own material or do you also employ historical ones? The first would be your interest in the past, the second would be the general time parameter in your works. I had no field recordings from that time and I wanted to match field recordings and pieces of music with the photographs. Recently I did another interview with a friend of mine. What sort of field recordings do you work with? I find it a very important part of my work. And that was the only bright spot during this very unpleasant week. And that’s something that interests me a lot, trying to find the colour of an experience or a situation. But it is something that interests me. They had one song basically, but they had a very strong sound, I guess it was a combination of production values and instrumentation, because they had two drummers.


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