6,8K Ohm Live in Athens for IAI Records
6.8K OHM is a project series where I use sound as a structural element of material composition in installations and paintings to create sound sculptures and live performances.
I am using handmade analogue electronic circuits that enable real time signification of paper canvas drawings. Graphite and conductive paint are the primary source of feedback for sonic interaction. By amplifying the signal, different frequencies are generated depending on the electrical conductivity produced.
In this particular performance I sonify the in-situ wall paper conductive-material drawings through analogue handmade synthesizers in collaboration with IAI records.
Live paintings & Installation by: Dimitra Kousteridou
Published & distributed: IAI RECORDS
Label Release IAI004-Musiqaa
Location: Kasseta Records "Stoa", Sofokleous 5, Athens
Live Improvitation with Dimitris Neonakis on electric guitar, filmed at Titakis winery.
Dimitra Kousteridou(Handmade electronics/sketching) and Dimitris Neonakis (electric guitar), are diving into an improvised dialogue of sounds. Poetically abstract soundscapes and artworks using analogue electronics,making the act of drawing an integral part of it.self made circuits, amplifier, pedals, graphite and ink on paper, body as conductor
Video by George Tzortzakis at Titakis Wines
6,8 K Ohm Improvisation series
Live Improvitation concerts in collaboration with instrument performers/musicians.
self made circuits, amplifier, pedals, graphite and ink on paper, body as conductor
Together with musicians, we are diving into an artistic and ongoing dialogue of sounds and movements. During the performances, we create poetically abstract soundscapes and artworks using analogue electronics and acoustic instruments in improvisation. Graphite is conductive and used instead of a standard knob in the electronic circuit, making the act of drawing an integral part of it. The sketching is turned into a playful practice, the amplified canvas into an instrument which can communicate with the instrumental performer. Graphic scores, Improvisation and suggestive language, inspired by the environment and our collective memories.
The installation is a hybrid of a canvas, used because of its conductive materials as an integral part of a handmade circuit. The sonic output of the canvas, which is also turned into a speaker, is vibrating its surface so that the actual input frequencies from the painting materials are responding to the vibrations on the same body.
As one stands in the space in front of the canvas, almost invisible vibrational forces, bringing on the surface a barely perceptible yet resonant audio dimension.
The artwork translates present material swifts and movements into changing acoustic fields. It can be thought of as a virtual container for the potential relations between canvas as a body, space, sound, paint and and electricity, from the standpoint of the anorganic.
The way a body feels space-time through sound pushes it to encounter an alternative mode of perception.
Photos by Jiriesam.com
6,8 K Ohm
self made circuits, amplifier, surface speakers, conductive paint and graphite on canvas
1 X 1.5 meters
1 X 1.5 meters
1 X 1.5 meters
6,8 K Ohm series
6,8 K Ohm
self made circuits, amplifier, pedals, graphite and ink on paper
By building an analogue open circuit that turns electricity to sound, I used graphite based sketches, through a live act, to sonify the visual qualities of the interactive process. Graphite is conductive, so it is used instead of a standard knob in the electronic circuit, like drawing an integral part of it. Trying to develop a body of work which honors sound as a live medium with which to paint, shape and play in real-time. Turning the sketching into a playful performative practice could possibly lead into an interesting audiovisual improvisation. Auditory stimulus coming straight from the object (graphite, paper), can examine whether the content of sound changes the visual/sketching motion perception in a manner that is consistent with multisensory integration.
Photos by Jiriesam.com
The live performances are divided across the length of the exhibition space through two different buildings and the in between space, that audience is free to explore and walk in.
Building 1: A computer on a panel presenting a Skype live connection with a person situated in a different country, expressing discussing ideas during their live connection on a spot, a microphone in front of the computer, possibly inviting the audience to be a part of the discussion.
* The performers tend to “do” actions rather than “act” them in a sense of naturalistic representation.
InBetweenSpace: In between the two buildings, a person on the move, live streaming his footsteps and the surrounding sounds.
Building 2: sound installation on the ground floor, a speaker, a playing recording devise, a microphone, (memory sound-scape)
Building 2: violin player performing at the spot sounds and instant compositions,tends to “do” actions rather than “act” them in a sense of naturalistic representation, the performance is a life art
Building2: When the visitors enter the room the performance has already began with a live act. A sound composition of the mixing of soundscapes mentioned above as well as with the amplified sound of her heartbeat.
As the performance takes place and progresses, the ‘real –time-heartbeat sounds’ is being amplified and gradually mixed and synchronised with the other 3 soundscapes, slowly creating a real time track; blurs the boundaries between composing, devising and performing.
This work is an attempt to research how the listener can adopt a different form of attention as the work is removed from objective physical dialogue between the different spaces and the mixing room where a combination of audio situations of the elements being presented. The piece creates a seamless mediation between performers characters and narrative structures are naturalistic, soundscapes composition using the act of mixing of the disconnected spaces with a body instrument created by the author.
live sound mixing sound-scape,
visual, audio and physical performance
twenty minutes audiovisual performance,
two cities/locations and the metaxy recorded train conversetions
Three pieces of sound, being mixed simultaneously and amplified to speaker towards the audience.
First sound is being made live, by using breathing exercises ,normally used for vocal warm-up to organize the breathing muscles, extend the capacity of the voice and give a sense of the breath very deep inside the body. For the making of the sound, water combined with the essential breathing out was used, in an attempt to keep the water above the chords, creating a gurgling sound. The gurgling sound resonates for as long asthe tone wont being disturbed and being amplified through a microphone attached to the throat.
At the same time, the second sound through a laptop in front of me, representing a Skype conversation with a string violin player. The violin string playing interacts on the live performing breathing-gurgling sounds, not striving for any specific, thought-out results and vice versa.
The noise from Skype is an audible indication that information is being sent.
The third connected sound, is the sound of train recording conversations (from the in -between train travel of the two different locations the performers are at) expresses the duration and presents a soundscape paradoxically territorial of its own.
Each sound cut through a segment of sonic perceptivity: these sounds are right because of their elemental level each have a certain quality and duration.
The performance of the mixing , is also mixing together of the making and the hearing of sound a concern of recorded space, translated into a concern for the physical space when the work is being realized.