The language of kelp algae. Preserving Ecologies.
Project: Sound interpretation of geological morphology in the intertidal zone. Experimental acoustic ecology /Research as a participant in ” Kelp Curing” workshop with Sarah Blissett, part of The Kelp Congress at LIAF High Tide 2019 (Norway).
Which involved different forms of working with Kelp, including field work, recording, curing, sustainable foraging, eating, thinking through kelp, collective theory readings and more.
Kelp Biophony .Fictional biophony of algae breath. Part of process exhibition at Kunstnerhuset, Lofoten
Project About one of the topics of the workshop kelp Curing Preserving Ecologies: Walking and Listening in the Intertidal zone, multisensory encounters with Kelp and also with tidal flows with sketches and scores. Experimenting with different methods of listening to Kelp ecologies.
research process, workshop
Exploring the relationship between the intracellular structure of macro-algae with the human nervous system in the Intertidal zone. Detection of Molecular Oxygen Using Photoacoustic Spectroscopy , approaches to ‘Kelp emotional mapping’ as care. Sound experiments as a method of documentation and forms of preserving practice, methods of curing seaweed. Describing Ecological anthropology as the Relationship between matter and space through images representing Kelp emotional mapping. Interpreting Sound landscape and acoustic ecology, to describe our environment as a human-ecological field, located between “sound and noise”. It was a way to discover “the language of algae,” how “they” communicate, based on a very personal concept, playing with chemical and physical concepts . Listen to the breath and the oxygen image of kelp as a sound sculpture by bening the air bubble ,”their” energy, “their” internal structure and translating the captured image of oxygen molecules of the spectrogram into sound . (by a Photoelectronic musical , software simulator, made it possible to draw music in the form of a spectrogram ,sonogram and read 2d barcode).
Participants will be encouraged to explore ‘Curing’ (in relation to notions of Care, Healing and Curation) as both a method and a concept for encountering seaweed and other generative processes connected to ocean ecologies. Experiments in drying/smoking/fermentation will take place as well as the creation and sharing of original stories/poetic texts/recipes embedded in the local intertidal setting. These practices will score an investigation into kelp-related lifeforms/habitats, the Carbon Cycle in intertidal encounters, and enmeshed processes of digestion, composition, and decomposition.
Participants were Aoife Casby, Tinna Guðmundsdóttir, Tiina Arjukka Hirvonen, Øyvind Novak Jenssen, Cecilia Åsberg, Marietta Radomska ,Anne Cecilie Caroline and myself.
‘Kelp emotional mapping’ as care/ Cartographies emotions and “Sound psychographics” .
SOUND PERCEPTION :
2D barcode of the audio as a sound piece of the graphic representation of the sound (an analogy with the QR-CODE, code can be read in real time) .PhonoPaper app is based on the Virtual ANS engine – it is a software simulator of the unique Russian synthesizer ANS. Photoelectronic musical instrument created by Evgeny Murzin from 1938 to 1958. The ANS made it possible to draw music in the form of a spectrogram (sonogram).
The use of the telephone gives us immediacy playing with the concept here / now, on the other hand, we ask ourselves the use of technology and the influence of man in nature and the transformation of the landscape. So The visitor can in real time listen to the code using their mobiles ,different musical compositions will be generated, playing between the intentional and accidental process.