A sonic representation of Koumaria’s audio archive through a spatial sound installation. The original archived audio is manipulated to form a malleable soundscape, it is then dispersed through speaker drivers, horns translucent tubing, air valves and air splitters into different spaces throughout an Olive Factory. A bed of environmental sound conditions the space through various resonant machinery & metal housings. Sound proceeds through air valves and air splitters to singular tubes hung in space, the longer the length of tube, the more blurred the sonic material becomes. Each tube can be listened to individually, developing a fragmented listening experience. The archival material mainly exists as a digital database, fragments of the unheard is an experiential form of the past, which reorganises audio from previous pieces in the Olive Plant, and re-contextualises them to be experienced through space.
Jordan Edge & Nour Sokhon
A group of 6 Koumaria residents reconsider the work Instant Quartet, subjecting it to a complex transformation via data extraction from the original video, transforming this data into a symbolic language which was used as both a movement and musical score. This score was painted on the performers bodies, and then read by them in real time in collective performance.
Eric Lewis, Jordan Edge, Joshua Legallienne, Nour Sokhon, Małgorzata Suś & Tunni Kraus
Undulation is a performative work that took place at the Πίστα (dance floor) of an old tavern in the Sellasia village during the 2019 residency. The work is the result of inter-disciplinary collaboration between four residents – combining a fixed four-channel audio installation, mobile sound system, movement, stage props, costume and a performative narrative.
Working with the theme of ‘the archive’, the work was developed as a site-specific response to the history of the location. The residents spoke with local historian, Ioannis Kapetanakis, whose knowledge helped shape the narrative of the piece; allowing them to reference the space’s former identities as place which held theatrical and dance events many years ago. The work also references Canon, an improvised performance that took place at the same location during the 2013 residency. Undulation was developed over the course of a single day and is the result of many exploratory improvisations in the space which led to the final presentation.
Upon exploring the space, the swings were the first thing that seemed significant to us, noticing the acoustic sounds created when the swings are in operation. The garden was overgrown so when one swings up and down, one’s feet move in and out of the long grass. Once the possibility of using this as a point of reference for listening became obvious, we began to explore the swings in new ways, using the body to explore different timbres and rhythms. Through variations in speed and the position of the upper and lower body a range of sonic opportunities are created. Lowering the legs increases the contact of the feet to the grass in turn, increasing the amplitude and range of frequencies created. Leaning the upper body back off the rear of the swing skews the angle of the seat, in turn altering the body’s contact with the grass. We were interested in using these sounds, both as live acoustic sound, and recording the sounds in situ to playback in the performance. We were also interested in the metaphors that the undulating motions of the swings could provide as some sort of references to temporality and the present moment.
The sound was recorded in two binaural configurations, which for the performance were played back simultaneously, in two discrete stereo fields. Four speaker drivers were suspended at ear-height around the circumference of the circular concrete area. The speakers were positioned in a cross-formation to create a quadraphonic speaker array. The two recordings of the rest swings were spatialised on two 180° planes (North to South and East to West), allowing two stereo fields to co-exist in the space. Acoustic effects could then be explored by performers and participants through movement in the space. In contrast to this, we choreographed movements on the swings to provide an acoustic counterpoint to the recorded swings that were recorded in-situ. We decided to use a fifth channel of audio, routed to a wireless speaker that would play back an excerpt from this work during our performance. The speaker was held by a performer, allowing the sound to be diffused through space with their actions. Remote control of the volume by the performer under their costume would allow for volume automation to be linked with their movements.
Jordan Edge, Joshua Legallienne, Nour Sokhon, Małgorzata Su
Using reference material, Rodrigo collected sounds that reminded him of the Adan's effect in time and space. Sound artist Nour Sokhon built on these recordings, incorporating her own work into the material, to explore the many layers of sounds that occur outside mosques and churches during prayer.
The artists utilized sound to put the viewer in a perpetual state of renewal within the exhibition space and to highlight the muteness of Rodrigo's paintings.
Visuals by Rodrigo Echeverria
Sound by Nour Sokhon in collaboration with Rodrigo Echeverria
A live improvised set between Ø •· –¬, Nour Sokhon and Regis Lemberthe in Noiseberg (Berlin, Germany). “In Conversation with Entropy” is a silent yet loud dialogue which was shared between three sound artists on stage through a language that they innately understand. The set summons its listeners to waltz into the chambers of their unconscious for a self reflective conversation.
The soundtrack of “The Reverse of a Child” is part of a project Nour Sokhon created for Radio Mansion (Beirut, Lebanon) in collaboration with Freya Edmondes. All the sounds in the track are from a sound bank recorded by people from the Mansion community documenting their auditory journey to Mansion and shared through a Whatsapp group. Nour and Freya were fascinated by how they did not know the identity of the people who did those recordings and by what they chose to share from their personal or daily life. This notion inspired the creation of the film for “The Reverse of a Child” a nightmare lullaby, when we were little our parents would read to us fairytales before we went to bed to remind us that everything that is to come will be magical and fairly simple. In reality those fairytales were never true, as the digital world has invaded our mental well being through subliminal messages. Similar to how the earlier versions of Little Red Riding Hood were dark and twisted versus the present altered ones where Little Red Riding Hood and her grandmother come out alive. Several metaphors and symbols are used in this film, to comment on the obstacles which the capitalist system we are embedded in throws our way through digital channels.
Filmed by Nour Sokhon and Freya Edmondes
Soundtrack by Nour Sokhon and Freya Edmondes
Colour graded, edited & mastered by Nour Sokhon
Moving image piece is available for viewing upon request
“Transformation Through Chaos” is a live improvised set between between Stephanie Merchak and Nour Sokhon in collaboration with Nicole Farah.
“Transformation Through Chaos II” invites the audience to lose their inhibitions and self reflect on their personal experiences with disorder within the age of disinformation/ information overload. Sound and body are used as vehicles, encouraging the crowd to converse with their inner selves.
Sound: Stephanie Merchak and Nour Sokhon
Body: Nicole Farah