5–6 November 2016, 11am–8pm, OTO Project Space


No Longer Available

Jockel Liess creates generative audio-visual compositions, which in its form and structure derive from artistic traditions of visual and musical minimalism. In his mainly abstract work, he explores ideas of microtonality, structural composition, synaesthesia and interconnected sound/image relations.

‘Bordun Chorus’ is a non-durational live-generative environment with no beginning, end, or in the traditional sense progression. It rather exists, for the time of its performance, in an ever-changing state of subtle transformation. The constantly renewing structure of the work thus defies repetition in favour of self-similarity, and strives towards the simplicity and impermanence inherent to natural organic environments. Within this approach resides the work’s transitory uniqueness of the moment.

Defying a distinct tonal centre, the drone structure of ‘Bordun Chorus’ is based on the frequency relations of the harmonic series. While the work inhabits a simple tonal scale in just intonation, the slow drawn-out notes develop primarily through a varying emphasis on their overtones. As the fundamental physical building blocks of musical language, harmonics or overtones are responsible for the distinct character of a sounding note as well as their perceived pitch. The shifting manipulation of individual harmonics within the played notes of ‘Bordun Chorus’ thus leads to the dissolving morphing quality within the sonic texture of the work.

This deconstructive approach toward tonality is reflected in the visual manifestation of the work. The underlying steady structure of the image is displaying a restrained multi-layered approach in its progression. Transformation appears within localised individual parameters of the visual pattern, without ever truly altering the overall static arrangement. The rising and disintegrating quality of this mysterious fluctuation is thereby underlining and complimenting the fragmented unity of its audible counterpart. The drifting emergence of ‘Bordun Chorus’ timbre and texture, focus and shade, is not however disconcerting. It rather invites the spectator to submerge in the meditative tranquillity of its audiovisual composition.

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