Biernes Geometri

Biernes geometri - en koncert-happening ifm udstillingen "I et landskab"

Koncert – performance 7/9 2025

Efter min performance “Korkelmens Dialekt”, blev jeg inspireret af Mortens værk med bierne. Jeg undersøgte, hvad det lige er, bier gør, når de kommunikerer, og blev mindet om, at de jo laver deres “dans”. På engelsk: “Waggle Dance”. Kort sagt går det ud på, at en bi, der har fundet en fødekilde, ved tilbagekomsten til bistaden laver en slags kodet bevægelsesmønster, som meget præcist kommunikerer 1) afstanden til, 2) retningen til og 3) beskaffenheden af fødekilden. Dansen foregår i et ottetal, på bikubens lodrette væg og retningen ift op (modsat tyngdekraften) angiver retningen af fødekilden ift solen. Varigheden af dansens midterste del angiver afstanden, således at 1 sekund svarer til ca. 1 km (alt afhængigt af vindmodstand, etc).

Dette fænomen inspirerede mig til at tænke: Jeg vil være en arbedjderbi, der laver en “waggle dance” for at fortælle fællesskabet om de forskellige (åndelige) fødekilder, denne udstilling byder på!!

Solens placering ved performancen 7/9 kl. 14.15. De stiplede linjer viser afstand fra Mortens værk til de andre værker, samt vinklen ift solens stilling. Sum sum.

Så jeg har travlt! Arbejderbitravlt! Fra min første performance er der 22 dage til at jeg skal performe denne waggle dance!

Grundideen er, at jeg sætter mobilen på min klarinet, og fra den sender en live strøm af data til computeren med klarinettens retning, op-ned og side-til-side. Og når jeg så peger i retning af et af de udstillede værker, åbner jeg for en generativ lyd-arkitektur, som jeg har programmeret til værket. Lyd-arkitektur, fordi jeg har fastlagt nogle mulige tonehøjder, varigheder, filtre, mm., som jeg kan aktivere, og påvirke med klarinettens bevægelser. Som at bevæge sig rundt i et hus og fremhæve forskellige rum, dekorationer, møbler, etc. Generativ, fordi jeg bruge styret tilfældighed, (Markov), til at variere de konkrete lydforløb, du vil høre. Lydene skabes af en modulær analog synthesiser, og på den måde har jeg et relativt begrænset instrument at lege med (begrænset ift computerens uendelige muligheder for lyd-syntese). Et godt benspænd, som fordrer kreative løsninger (hvis ikke det hele skal lyde ens!).

Nr. 3 Freja “ANDETSTEDS” & nr. 15 Dorte “ÖDE”

Frejas og Dortes værker er på mange måder forskellige, men de har det til fælles, at de består af en masse mindre dele, af meget forskellig beskaffenhed, som er sat samme i landskabet.

Jeg tænkte på, at jeg ville lave en slags virtuel lydskulptur ud af hvert af deres værker. Ved at bevæge klarinetten op-ned og vrikket højre-venstre kan jeg navigere rundt i lydskulpturen og aktivere forskellige dele.

Jeg lavede optagelser af de materialer, som skulpturens dele består af, og lavede en analyse af deres lydlige karakteristika.

Her har jeg klippet forskellige dele af Frejas værk ud
… og her er deres repræsentation til computeren.

For at kunne aktivere de forskellige lyde, som hører til de forskellige skulpturelle dele har jeg lavet en forenklet repræsentation med klare farver. Jeg sender live data fra min mobil, fastgjort til klarinetten, og når jeg bevæger klarinetten op-ned, side-side, bevæger jeg, hvad der minder om en cursor rundt i billedet; når cursoren f.eks. er over farven grøn, aktiveres den lyd, som jeg har gemt til Frejas keramiske skulptur. Osv. På den måde kan jeg bruge klarinetten som en slags trommestik, der spiller på forskellige skulpturdele..

Nr. 6 Claus “BJARNAVI TAT LOH”

Claus’ værk står som en nærmest alien efterladenskab midt i landskabet, og man tænker: “Hvad laver den der?”. Det får mig til at tænke på den sonde, mennesket har sendt ud i rummet, med nogle geometriske figurer, osv., og som jeg tænker, at en fremmed intelligens nok ikke vil fatte meget af…

Den såkaldte Pioneerplade, sendt med Pioneer 10 og 11 i 1970erne. Ligheden mellem linje-figuren til venstre, og min egen linjefigur ovenfor er ikke-intenderet, – men alligevel et påfaldende sammenfald. Tjek også Freyas værk…I øvrigt interessant, at de kære udenjordiske væsener skulle forestille sig en Planet udelukkende beboet af hvide mennesker..

Nuvel, der er ikke meget i Claus’ værks form, omtalen af det i kataloget – og da slet ikke dets titel – som giver noget hint til mig som beskuer/fremmed intelligensform.

For at finde en vej til dette værk gik jeg i ‘kødet’ på denne del af det:

Det er en aluminiumsplade, og der er ligesom banket nogle huller i, fra den ene og den anden side. Hullerne danner figurer, som ser ud til at være placeret ud fra lodrette/vandrette og diagonale logikker. Figurene er rektangler, cirkler og rette linjer. Og så en figur, jeg ikke kendte navnet på, men som lader til (iflg. google osv) at være en såkaldt “stadium” (eng). Wikipedias illustration af denne form matcher ret godt Claus’ form:

Denne form kommer i 3 forskellige stillinger: vandret, lodret og diagonalt. Jeg tænkte: lad os forestille os, at hullerne udgør toner og varigheder. Afstanden fra et hul til det næste, vandret udgør en varighed; lodret en tonehøjde. På den måde får vi et loop af toner med forskellige varigheder, dvs en melodi. Jeg forestillede mig så, at jeg kunne lade denne form->melodi eksistere virtuelt i min computer, og at jeg, med klarinettens bevægelser, kunne ‘dreje’ den rundt. På den måde, ville betydningen afstanden mellem punkterne gradvist ændre sig, og varigheder ville blive fortolket som tonehøjder og vice versa.

Dette er en tænkning, som jeg selv har fået inspiration til, ved at arbejde med analoge synthesizere. Dette er en verden af spændinger – volt – hvor den samme spænding kan bruges til det ene øjeblik at kontrollere tonehøjde, det næste varighed, det næste klang, etc.

Nr. 7 Johanne “TÅREKAR”

Johannes værk består af 5 keramik-kar. Jeg optog lyden af hvert af dem, ved (forsigt!!) at dikke til dem med fingeren. Jeg analyserede lydene og programmerede grund- og overtoner ind i maxmsp. Rent teknisk har jeg (gen)opdaget metoden wavetable synthesis. Jeg har tidligere stødt på denne metode, men har ikke oplevet den som meningsfuld for mig, indtil nu. Hvorfor? Fordi jeg har givet mig selv det kæmpestore benspænd kun at skabe lyd med (et meget primitivt) modulært synth-setup. Her har jeg kun mulighed for at sende 1 værdi ad gangen til at styre tonehøjde. Så normalt kan jeg kun får synthen til at lave 1 tone ad gangen, f.eks. et C. Hvordan så få synthen til at lave mere komplekse, overtonerige klange? Svaret er wavetable synthesis. Jeg har lavet en meget lille ‘lydoptagelse’ med kun 5 samples: grundtonen og 4 overtoner. Denne ‘lydoptagelse’ bliver så afspillet ind i synthen, hurtigt, og synthen får på den måde ‘besked’ på at spille, hvad der i langsom gengivelse ville være en arpeggio. Men hurtigt afspillet bliver de ellers adskilte toner, til én samlet klang. Lyder det som Johannes tårekar? Nok ikke helt. Men det er et bud på en dialog med værket. Og måske får klangende en klagende karakter, som går i spænd med tårekarenes essens?

Øverst: Klangen af et af lerkarrenes overtoner ‘oversat’ til 5 samples. Nederst de samme overtones amplitude.

Nr. 12 Hartmut “OPERATION HVEPSESALAMANDER”

Her valgte jeg at bruge en alm Stor Salamanders ‘hanekam’, som en form til at skabe tonehøjde- og varighedsforløb. Jeg brugte softwaret https://automeris.io/wpd/, hvor man kan plotte (x,y) par ind på et billede, og trække dem ud som et datasæt.

Jeg valgte at sige x=varighed, y=tonehøjde; for hver ‘tak’ i hanekammen får du så en ‘tone’ til en melodi, hvor tonen gilder opad til et skarpt knæk; Salamanderen laver ikke lyd. Det gør hvepse til gengæld. Så for at lave en virtuel, lydlig, hvepsesalamder blev det til, at salamanderens form udgør lydarkitekturens form (dvs. melodi), og hvepsens lyde (en summen på 170 – 200 hz) udgør selve lydens klang og omfang.

Nr. 14 Regitze “IMELLEM SANDET”

Når jeg ser Regitzes skulptur, er der med det samme noget, der sker, rent lydligt. De her tentakler, eller nervetråde, eller navlestrenge, som trækkes ud af, bores ned i, eller vokser sammen med gruset får mig til at høre lyde, der bevæger sig fra skulpturens ‘hoved’ og ned i jorden. Lydarkitekturen til dette værk består derfor bla. af 5 tonebevægelser, som går oppefra – ned, i en glidende bue. Tonehøjden er bestem af skulpturens (dumpe og dybe) klang.

En ‘forpremiere’, hvor jeg (hjemme) tester hele mit setup af…

Korkelmens Dialekt

Performance 16/8 2025

Til denne performance lytter du til lyden fra et korkelmetræ. Ved hjælp af en særlig mikrofon, der er fastgjort til træet, forstærkes træets indre vibrationer, dets vibroscape. Disse vibrationer er så svage, at vores ører ikke kan opfange dem uden hjælp. Ligesom et mikroskop gør det muligt at se meget små ting, gør denne mikrofon det muligt at lytte til de meget små lyde fra træets indre. 

Her kan du se en video fra performancen 16. august 2025, i regi af udstillingen “I et landskab”.

Ugen forinden optog jeg lyde fra det selvsamme træ. Lad os forestille os disse lyde som træets minder. Når jeg til performancen træder på en pedal, bliver de gemte lyde aktiveret af træets aktuelle vibrationer. Det er, som om træet genkalder sig sine minder og deler dem med os.

Jeg deltager i denne ‘samtale’ med min klarinet. Og vi –  træet og jeg – udfolder en dialog, en  fælles improvisation, sammen. 

At lytte til planternes indre liv er dybt fascinerende, og jeg oplever, at det kan skabe en helt ny forståelse for disse væsener, vi deler jorden med. Kunsten, og især musikken, kan være en måde at udforske og udvide denne forståelse på. Hvad kan vi lære af planternes dialekter – og specifikt af korkelmens dialekt i dag?

God fornøjelse med lytningen!

TRÆETS DIALEKT

Learning from a 500.000 year old music culture – the European Reed Warbler…

  1. It began with a simple swim in the lake. I first heard an intriguing birdsong, filled with a fascinating array of musical ideas. The very next day, I returned to record its performance. Luckily, the bird was still there, and I captured a fairly good recording.
  2. It was a European Reed Warbler.
  3. Back home, I immediately set out to analyze the song. My initial approach involved meticulously notating every aspect of each sound: its duration, amplitude, pitch, and so on. I then developed a program to synthesize the sound. My idea was to go from analysis to synthesis, with the ultimate goal of playing my synthesized “fake” birdsong to the Merlin app, a tool known for its ability to recognize birds from their calls.
  4. To my surprise, while the Merlin app instantly and without hesitation recognized the European Reed Warbler from my original recording of the actual bird, my synthesized version didn’t impress it at all – the app heard nothing.
  5. This sent me back to the drawing board. My next approach will be to shift away from annotating every single sound from the bird, and instead, think in typologies. I can clearly hear (and see from the waveforms) that there’s a certain, seemingly limited, number of different kinds of sounds that the bird has in its repertoire. So now, the focus is on identifying these types, understanding their variabilities (in pitch, duration, amplitude, etc.), and analyzing how these sound types are typically combined (e.g., the number of repetitions, the adjacent sound types, etc.). This will likely involve an analysis akin to a Markov model.
  6. Stay tuned for more updates on the project!.
Waveform and spectral frequencies of my synthesised version of the European Reed Warbler's singing.
Waveform and spectral frequencies of the European Reed Warbler’s singing.
Waveform and spectral frequencies of my synthesised version
me listening to the song of the european reed warbler
me listening to the song of the european reed warbler

Will knowing nature make us better humans? Pocket research design 1

How can we create better connections amongst ourselves, and with our environment? Would we become better at connecting with each other if we were good at connecting with our environment? And vice versa?

This is my first ‘pocket research design‘, (read about my pocket method here), sketching the following ‘pocket research program’:

  • First, I read Australian professor of environmental philosophy Freya Mathews’ article Towards a Deeper Philosophy of Biomimicry. See my summary here.
  • Next, I discuss the question of a possible relationship between hierarchical societies and the way they treat their surroundings. Read my essay here.
  • Finally, I discuss what role communication and cognition play in living systems and their interactions. (Coming up)

Update 2018-06-09

My third bullet is a really important project, however, I have understood the necessity of digging more into some aspects of human-environment interaction, which is why I by May 3rd 2018 launched my ‘Pocket research design 2’: Pre-modern forager societies vs Spinoza’s polis. A model for a more sustainable way of life in our time?

Feel free to read, comment, share, etc.!

Will knowing nature make us better humans? Can A deeper Philosophy of Biomimicry give us the answer?

Part of my ‘pocket research program’ 1: “Will knowing nature make us better humans”, here is my summary of Australian professor of environmental philosophy Freya Mathews’ article

Towards a Deeper Philosophy of Biomimicry (find the article as a pre-publication here)

I read this article on the backdrop of this pocket research question:

How can we create better connections amongst ourselves, and with our environment? Would we become better at connecting with each other if we were good at connecting with our environment? And vice versa?

Mathews writes: “The advent of the notion of biomimicry in design circles and the vision of a second industrial revolution based on it has, … moved us closer to the goal of planetary ecological integrity, closer than the traditional environment movement ever did.” However, she continues, “biomimicry remains vulnerable to co-optation by as powerful an anthropocentric mentality as that which launched the original industrial revolution and ravaged, in our time, the living constituency of the biosphere.” Therefore, Mathews argues, “a deeper philosophy of biomimicry is currently needed”.

Asking for “deeper, necessary principles in nature that in some sense render the design principles enumerated by biomimicry theorists intelligible”, Mathews comes up with two: the principle of conativity and the principle of least resistance. According to the principle of conativity, “all living beings and living systems are animated by a will or impulse to maintain and increase their own existence.” Mathews refers to the Jewish philosopher Benedict de Spinoza, who “defined conatus as the will wherewith everything strives to persevere in its own existence”. The principle of least resistance has to do with “the very particular manner in which [all living things] pursue their conative ends.” Mathews states that “they do so in a way that involves the least expenditure of effort on their part.” These two principles are intertwined, and form the basis of a stable ecosystem. Why? Because: “Living systems actively strive to persevere in their own existence and they choose to do so, logically enough, in those ways that least deplete their self-energies. These will generally be ways that least provoke resistance from others – ways, in other words, that are most consistent with the conativity of others.”

So, how come we humans have screwed it up so miserably? Mathews argues, that although we are conative beings, we are also “endowed with reflexive awareness”, and therefore, “we can reflect upon our own nature, and, by reflecting upon it, modify it.” Although conativity “will remain our fundamental impulse … the ‘existence’ to which we are dedicated will now be conceptually mediated rather than merely corporeally given”. We are thus able to “choose our ends in accordance with our discursive systems”, and these will inevitably “vary from culture to culture”. Therefore, what we conatively pursue, “may not conform to the principle of least resistance”. And for Mathews this means, that our “ends may clash with the ends of others”.

So, basically what she is saying is, that we human beings are able to reflect, to engage in abstract thinking, and therefore, we can choose to do things that do not match our basic instincts. We are cultural beings, and therefore we are capable of stepping outside the “conative template path laid down by nature”. And this may leads us to “act … in an ‘impose and control’ mode, that effectively places us ‘outside nature'”.

But how can we be sure, on the other hand, that everything a non-human living being does, will always benefit its surroundings? Mathews’ answer would be that beings who fail the principle of least resistance will be wiped out by natural selection. Since they would spend more energy on their survival than they have – and thereby causing more damage to the surroundings than necessary – they wont be able to procreate. According to “a necessity arising from the logical dynamics of evolution”, living systems “evolve an existential disposition that leads them to favour this modality [the path of least resistance]”.

So how does this relate to our current crisis? The keyword for Mathews is energy. Since we, in modern civilization, have gained access to “virtually unlimited supplies of energy”, and “since that power has been derived from external energy supplies, and has not been drawn from our own life-force, we have not been self-depleted or self-decreased by expending it.” In this way, we have avoided “the usual selective consequences of impose-and-control behaviour – only because the energy we have been using to do this has not been our own.”

Our capacity as human beings of reflexivity seems thus to be the cause of the mess we have brought to the planet. But – and here comes the good news – reflexivity is also the key to make it all good again. “As reflexive beings we can grasp the logical force of the conative template laid down by nature and choose to re-conform to it” writes Mathews.

We need to ask the question of “what the life system wants us to want”, as Mathews puts it. This requires that we cultivate “a certain sensitivity to the self-directed patterns-of-unfolding of others”. This adaptation to the conativity of others can take place in two ways. As “a result of deliberation” or “as a result of communicative encounter or exchange”.

Deliberation, Mathews suggest, can go through the methods of science or natural history. However, a thourough insight into the conative tendencies of biological systems requires “a significant expansion of traditional biological and ecological sciences”. The problem is, that “traditional science simply fails to register conativity”, because “its wholesale objectification of natural systems leaves no room for the dimension of self-meaning”. Without the sensitivity towards the self-meaning of other living systems, we will not be able to attune our own ends to theirs.

This is where the second way of adaptation comes into the picture: communicative encounter. “Direct communication” with another living being will allow us to “discover [its] conativity”, and “adapt our own conativity to its”. This communicative encounter “might induce it to disclose us its own sense of self”, which “might be achieved via some form of self-expression or self-revelation intrinsic to that entity”. What would this kind of communicative encounter look like? Mathews gives the example of a possible ‘musical encounter’ with birds or whales. The bird or the whale may then “begin to express its sense of itself”, whereafter “cross-species patterns of sound may be created which express but enlarge the musical signatures of both parties.” This will leave both parties “moulded by the encounter”, and our conativity will be “bent towards the conativity of our musical confreres”.

In the last part of the article Mathews discusses how a “bio-synergistic civilization” might be worked out. She mentions a possible inspiration from ‘pre-modern forager societies’, although she doesn’t find it “entirely clear how the bio-synergistic principles of earlier forager societies could be re-invoked in the context of modern mass societies”.

Her suggestions for a possible model includes the use of solar energy, the consumption of bush foods, and “the setting of optimal ecological targets for human population.”

Turning back to my initial question, whether we become better at connecting with each other if we were good at connecting with our environment, Mathews’ article doesn’t answer the question fully. But it sets up a necessary conceptual framework, from which I will discuss the question in my next blogpost, coming up!