Geodesic Sound Waves: "Norske Ride" from Yohann Walter on Vimeo.

geodesic sound waves, installation, sound and video, yohann walter, norway, kunst, media, medie, norgegeodesic sound waves, installation, sound and video, yohann walter, norway, kunst, media, medie, norge

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vocals and instruments: Kirsten Bråten-Berg, Marilyn Mazur, Lena Willemark
composition: Yohann Walter
Bergen, Norway (2010)

Produced on board the Stenna Line ship, cruising between Hirtshals-Oslo-Stavanger-Bergen


"Sound is meant to travel, for our minds to shape landscapes"


"Geodesic Sound Waves"

1) Norske Ride

Norske Ride is a piece designed while working on a boat, sailing along the Norwegian west coast.
It is using vocals and instrumentation of Kirsten Bråten-Berg, Marilyn Mazur and Lena Willemark.

View from the boat, the coast and mountains unfold and move on several fronts, according to various depths holding in the form of a long traveling.

The water and its skyline, swirls when approaching the continent.
The reliefs chase each others, interlock and overlap.
The ancestral mountain ride is repeated once more.
The navigator, who embraces the view, is lost in a pursuit to the unattainable Valhalla.

"Geodesic Sound Waves" is an audio and visual proposition based on travel and exploration of traditional music.
Music graphic transcription via oscilloscopes allow us to interpret sound waves as reliefs such as shores, plains or mountains, to explore the geographical environment from where these tunes are originally from, while incorporating a notion of path and storytelling.

Indeed, when the sound is graphically-transcribed using a ripple due to an oscilloscope, this interpretation redefines with simplicity and a striking accuracy the environment from which this music is originated. More surprising, this "horizon" in the sound is accompanying the movement by giving it meaning and representation, narrative empty of pictures but full of interpretations.

The imaginary landscape, previously linked to matter and which was rooted in the experience of materials, thus leaves empty place to almost no other substance than that of sound.
This sensitive couple "full / empty" propose the viewer and listener to project on the ripple representative values.
Imagining a perfectly plastic material, the audience is further capable of receiving the strange and paradoxical power of empty forms.

"The vases are made of clay, but it is their emptiness that you can use it" (Laozi)