Sounds fiction

— sound wave illusions by Reading Music

Now we would like to develop, compose and realize a serie of site specific pieces as a logic continuation of our previous work but this time without using any written scores. The room in which we perform will be the composition. Meaning, in some sense, we perform the room in which we perform. Artificial ambient sounds depicts a larger artificial ambience. Or maybe constructing a fictional machine that is even more scary and fascinating in its physical absence. Creating an alternative space within an actual space using sound effects in the same way a Foley artist would do for a scene in a film. Re-creating and bewildering everyday locations through sounds.

With Sounds Fiction we intend to blur the line between the physical and mental and let them overlap and confuse each other. Play with the fact that the human perception is constantly oscillating between what we know and what we anticipate, what we see and what we wish to see. Everything might be possible but is anything really true?

We like to interpret places and perhaps deliberately misunderstand them in order to make people experience them for the first time once again. Safe spaces unsecured, new sounds re-defining what we’ve been taken for granted.
We would like to workshop the framework of our project Sounds Fiction in collaboration with local musicians and together find a common ground on how to approach the idea and adapt it for the venue. How do we experience a room and how can we change the experience through re-designing it musically?
Out of the abstract something seemingly very concrete appears.


In 2018 three new pieces were composed for our project Reading Music and our following project Sounds Fiction will have its starting point in our work with those compositions.

In Hanna Hartmanns graphic score Foreign Fridges the sound of different imaginary refrigerators is taking shape.

In Nomi Epsteins piece portals the musicians move back and forth between different clearly articulated soundscapes; timbres, rhythmical loops, white noise and warble from vinyl LPs. An internal sound hiking, playfully searching and finding itself in constantly new contexts.

In Michael Pisaros low-key composition Der erste Stern ist das letzte Haus a number of seemingly trivial events is presented musically. Forty miniature sound sculptures of withering leaves.