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Jodi Rose: Sound artist, writer and composer Jodi Rose started listening to bridge cables in 1994, creating Singing
Bridges, an urban sonic sculpture. Made with field-recordings, on-site interventions and improvisation in
collaboration with artists around the world, Singing Bridges is a conceptual sound work using the cables
of bridges as musical instruments on a global scale. Jodi has traversed the globe from Helsinki to the
Mekong Delta in an endless quest for bridge music, her work recently exhibited, broadcast & performed
at ISEA, European Sound Delta, Pixelache, Transit Lounge, Liquid Architecture 9, soundmuseum.fm,
Kinodvor, Das Kleine Field Recordings Festival & Radio WNE. She imagines linking bridges around the
world in a Global Bridge Symphony.
Erik Minkkinen: Activist musician as part of Sister Iodine, Discom, founder of Leplacard festival for headphones, he oscillates between digital dysfunctions and analogue percussions. By recuperating objects such as disused computers, old abondonwares as much as metal fragments for prepared guitars, badly maintained synthesisers and voices, he creates unsteady environments in which he manipulates accidents trying to gather there bribes of melodies within a chaotic universe.
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Journal de Bord d'un petit caillou - Vibrö 5
(track 06)
Jodi Rose’s environment is being reused by mixing other hertzian and vocal temporalities within it.
“Adventuring out of my own pace from what was first a natural no-man’s-land into a fast sprout of more
human made metallic residues of the riverbank industrial zone , I mix with an new mineral kind , noticing
the world around me .Footsteps like metal and other birds pounding heavy , lighter birds whistle and
have conversations over head . a mouse tries to give a phone call - A flash of modern to post modern
humanity passes by ( i move a the speed of light ) leaving imprints of crossways , of more human made
metallic residues, of more human made metallic residues of light ( leaving imprints of light ), leaving
imprints to give a natural no-man’s-land into a mouse. |
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To post naturally into a mouse , post modern
humanity passes by ( i move a natural no-man’s-land into a mouse) - A flash of my own pace from what
was first a natural fast sprout of light leaving imprints of crossways. I move a mouse that tries to give
the speed of more human made metallic residues of crossways was first a fast sprout of crossways.
Adventuring out of the residues of the riverbank zone, I ‘m ready to mix with a new mineral kind again
and fall in the water flow.” (Erik Minkkinen) |
The Singing Bridges Project:
Jodi Rose
"Singing bridges" is a sonic sculpture, playing the cables of stay-cabled and suspension bridges as musical instruments. To create this work I will amplify and record the sound of bridge cables around the world. Listening in to the secret voice of bridges as the inaudible vibrations in the cables are translated into sound.
An urban sound-scape that reflects the physical and metaphoric structure of the telecommunications network, with its fibre-optic cables circling the globe. The iconography of the bridge cables echoes the telecommunications lines
stretching across the globe and linking us together. The work plays on an acoustic extension and interpretation of the constant flow of information and data through these cables.
In the ultimate realisation of this idea, bridges at locations around the world are linked and played in real-time to create an International Bridge Symphony. As the Bridges are connected through the sound of their cables, they create an Acoustic Indra's Net.
The cables of the bridge also reflect the vaulting in a church, designed to lift the spirit of the congregation to heaven with the vibrations of the choir's singing. A metaphor for spiritual communication, the bridge cables arching skyward have the potential to lift the commuter to a higher plane.
The project offers a re-interpretation of the familiar architecture of concrete and steel into an experience of metaphysical connection. Allowing for the possibility of a transformative experience of the bridge, other than the everyday pragmatic, economic and visual encounters with architecture... |
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Erik Minkkinen: http://www.youtube.com/watch?v=SZnMG5C-Pyg
...The sound of singing bridges all around the globe may also strike the resonant frequency of the earth's materials and dissolve the world. Echoing the Tacoma Narrows Bridge, which was freed from material constraints when the resonant frequency was struck by the wind. Sounding the harmonic frequency within the unheard.
The work is an experimental sonic sculpture, with many possible venues. It can be performed live at the bridge location, with live audio streaming web-cast of performance in real-time linking bridges across the world. Sound can also be amplified on the bridge at each location. Played on an interactive web-site. Narrow-cast on local radio frequencies to be listened to while driving or walking over the bridge, radio broadcasts exhibited in electronic & sound art exhibitions. Day to day account published on the Internet as the project evolves. Up to the minute reports on recording from each bridge location as it happens. CD compilation of artists using sound samples from the bridge to create music.
This work was conceived during the construction of the Glebe Island Bridge in Sydney, Australia in 1995. As a first step in the International Bridge Symphony, the cables on the unfinished bridge were recorded with the assistance of ABC Radio's The Listening Room crew. An excerpt of this recording was heard on ABC Radio National Arts Today program "The Art of the Bridge".
The edited work "Song to Dissolve the World" was included in "Sound in Space - Audiotheque" at the Museum of Contemporary Art, Sydney, May 1995. This piece was then published by MIT Press in "Leonardo Music Journal CD Vol 6 - The Lyre's Isle, A Survey of Australian Sound Art and Design", curated by Douglas Kahn in December 1996. It was exhibited in Perth Institute of Contemporary Art "Sound States - Uncertain Destinations" in May 1997, and published in HQ Magazine follies page HQ Magazine Nov/Dec 1996; and "Essays in Sound II - Technophonia", Sydney Contemporary Sound Arts 1995.
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| Jodi Rose: Her work is published in Sound Generations, Chronoplastics, Brooklyn NY; Leonardo Music Journal CD Vol 6 - The Lyre's Isle, A Survey of Australian Sound Art and Design, MIT Press; Taming the Wind: Aeolian Sound Practices in Australia, Ros Bandt, World Forum on Acoustic Ecology, Melbourne and Sound Sculpture, Intersections in sound and sculpture in Australian artworks, Ros Bandt Fine Art Publishing, Australia 2001. |
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Jodi Rose’s works have been exhibited, broadcast and published in Australia, Scandinavia, UK, Europe and America.
Exhibitions include:
‘What Survives – sonic residues in breathing buildings’, Performance Space Sydney 2006; Overgaden Sound Art Festival - Institute for Contemporary Art, Copenhagen; Pixelache Electronic Arts Festival 2004, 2005, 2007, Kiasma, Museum for Contemporary Art Helsinki; Sound States Uncertain Destinations, Perth Institute of Contemporary Art; Sound in Space Audiotheque, Museum of Contemporary Art, Sydney 1995.
Rose produced particle/wave symposium on hybrid radio in Helsinki 2005, and radio projects include: Bridge Songs and Stories, a Trip Across Australia ABC Radio Eye 2004; 'Songs of the Bridge: Compositions' with Trevor Brown, Ion Pearce and Ben Fink, Up Late, ABC Classic FM 2004; Archipelago, about ISEA International Symposium of Electronic Arts; Bridge Guard Radio Diary 2006; and 'Musique Concrete' for Up Late, ABC Classic FM Dec 2005.
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Rose has performed at From the Mouths of Dames – Women in Electronica and Burlesque, NBI Berlin Nov 07; SIAL Studios Auditory Cities Melbourne 2007; at Break 2.3 New Species Festival (with Luka Dekleva) Ljubljana, Slovenia 2005; Electrofringe Media Arts Festival (with John Jacobs) Newcastle 2005; E)SCAPES #2
SPRING EDITION, Sydney 2005; Liquid Architecture 6, Sound Art Festival Melbourne 2005; Pixelache & Particle Wave Opening Concert (with Mari Keski-Korsu) Sibelius Academy, Helsinki April 2005; the NowNow Sydney 2006; Espace Lab Project 101 Paris, May 05; Pixelache Festival Helsinki and Stockholm 2004. |
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