performances
6.8KOhm @TsakBam Festival
2021
Sound Installation and Performance at TsakBam Festival,Aigina
6.8KOhm is a project series where sound is used as a structural element of material composition in installations and paintings to create sound sculptures and live performances. Joined this time by a dancer, we venture into the theatrical realm, by using the space to frame what is composed in the moment. Through the project live performance is approached in a larger context to suggest a communicational approach in live arts. An ongoing situation between different elements of a network that include bodies, memories and experiences. The piece situated between a performance and a sound installation explores the concept of sym-poiesis in improvisation exploring movements and built sound environments arising from found and self-made instruments, objects that channel and transpose the sound like piezo microphones, slow-drying matter such as clay and self-made circuits. The sound installation can be left to sound by itself, letting the environment cause the Clay to undergo micro-changes, determining the piece's sonic structure, engaging the performers as a component of its circuit.
Dimitra kousteridou: Installation and live electronics
Maria Mavridou: Dance Improvisation
Video Credits: Roman Zotter
electronics,DIY circuits, contact microphones, Clay
electronics,DIY circuits, contact microphones, Clay
electronics,DIY circuits, contact microphones, Clay
Piano,electronics,DIY circuits, contact microphones, Clay
Piano,electronics,DIY circuits, contact microphones, Clay
Piano,electronics,DIY circuits, contact microphones, Clay
Piano,electronics,DIY circuits, contact microphones, Clay
The piece situated between a performance and a sound installation explores the concept of sym-poiesis simply translated as “making-with” which is in contrast to auto-poiesis, or self-making. The author Donna J. Haraway offers a redefinition of the Anthropocene, preferring to conceptualize it as what she calls the Chthulucene, as it more aptly describes our epoch as one in which the human and nonhuman are inextricably linked in symbiotic practices.
In this piece, I make references to this shift in viewpoint through the use of acoustics and built sound environments in which she employs found and self-made instruments, objects that channel and transpose the sound like a fixed piano, hand made circuits and pedals, piezo microphones, slow-drying matter such as clay, all connected rhizomatically and acting as a singular organism. The sympoetic system can be left to sound by itself, letting the environment cause the materials to undergo micro changes, determining the piece's sonic structure, engaging the performer as a component of its circuit.
Surfaces In Becoming
(Pause ||)
2021
Sound Installation and Performance at Footnote Center for Image and Text, Belgrade
6,8K Ohm Live in Athens for IAI Records
2019
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 analog electronic circuits that enable real-time signification of paper canvas drawings. Graphite and conductive paint are the primary sources 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 wallpaper conductive-material drawings through analogue handmade synthesizers in collaboration with IAI records.
Credits:
Live paintings & Installation by Dimitra Kousteridou
In collaboration with Label Release IAI004-Musiqaa
Location: Kasseta Records "Stoa", Sofokleous 5, Athens
self made circuits, electricity,amplifier, pedals, graphite and paint on canvas
self made circuits, amplifier, pedals, graphite and ink on paper
self made circuits, amplifier, pedals, graphite and ink on paper,violin
self made circuits, amplifier, pedals, graphite and ink on paper,violin
self made circuits, amplifier, pedals, graphite and ink on paper
FreeImprovisation series
2018
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 https://www.youtube.com/watch?v=kI7cFL4K3jE
6,8 K Ohm Improvisation series
2018
Live Improvisation concerts in collaboration with instrument performers/musicians.
self made circuits, amplifier, pedals, graphite and ink on paper, body as conductor
2019
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 analog 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 that can communicate with the instrumental performer. Graphic scores, Improvisation, and suggestive language, inspired by the environment and our collective memories.
video URL:
https://www.youtube.com/watch?v=D1vgdUg5y0s&feature=youtu.be&fbclid=IwAR17QrZd2c4-k_FeAZeo0PBhwFgNIsvDlnqu3Pb5Yzl5mBvyojQV4Z94_LA
https://www.youtube.com/watch?v=Pxb6rphMqx8&t=21s
self made circuits, electricity,amplifier, pedals, graphite and paint on canvas
self made circuits, amplifier, pedals, graphite and ink on paper
self made circuits, amplifier, pedals, graphite and ink on paper,violin
self made circuits, amplifier, pedals, graphite and ink on paper,violin
self made circuits, amplifier, pedals, graphite and ink on paper
The installation is a hybrid of 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 electricity, from the standpoint of the inorganic.
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
2018
self made circuits, amplifier, surface speakers, conductive paint and graphite on canvas
self made circuits, amplifier, surface speakers, conductive paint and graphite on canvas, 1 X 1.5 meters
self made circuits, amplifier, surface speakers, conductive paint and graphite on canvas, 1 X 1.5 meters
self made circuits, amplifier, surface speakers, conductive paint and graphite on canvas, 1 X 1.5 meters
sound installation,a speaker,a playing recording devise, a microphone, recordings of crickets (memory sound-scape) looped
self made circuits, amplifier, surface speakers, conductive paint and graphite on canvas, 1 X 1.5 meters
6,8 K Ohm series
2018
6,8 K Ohm
self made circuits, amplifier, pedals, graphite and ink on paper
By building an analog 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 that honors sound like a live medium with which to paint, shape, and play in real-time. Turning the sketching into a playful performative practice could possibly lead to 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
video URL:
https://www.youtube.com/watchv=H_R9nL2KxRY
self made circuits, amplifier, pedals, graphite and ink on paper
self made circuits, amplifier, pedals, graphite and ink on paper
self made circuits, amplifier, pedals, graphite and ink on paper
self made circuits, amplifier, pedals, graphite and ink on paper
self made circuits, amplifier, pedals, graphite and ink on paper
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 device, 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 begun 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’ are being amplified and gradually mixed and synchronized 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 an 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 the 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.
Multirealities
2017
live sound mixing sound-scape,
visual, audio and physical performance
Hearbeat amplification and live soundscape mixing
violin player, sits in a room in front of a microphone, performing at the spot sounds and instant compositions
sound installation,a speaker,a playing recording devise, a microphone, recordings of crickets (memory sound-scape) looped
Live skype performance composition
train recording
skype connection/instant composition
Metaxy
2016
twenty minutes audiovisual performance,
two cities/locations and the metaxy recorded train conversetions
Three pieces of sound,are being simultaneously mixed and amplified to the speaker towards the audience.
The first sound is being made live, by using breathing exercises, usually 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 as the tone won't be 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 has 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.