Oceans Reimagined – Remix Project

Oceans Reimagined is a tele-collaborative remix project that seeks to further open the borders of telematic music-making, to encompass asynchronous networked performance and post-production.  Selected artists were invited to reimagine one or more recordings, from Ethernet Orchestra’s 2020 album, Oceans between Sound. The aim was to extend the concept of the oceans and waterways separating geographically displaced performers, as a metaphor for the ebb, and flow, of networked data that traversed the Internet in the making of the work. Each track on this album is a digital reconfiguration of distributed audio streams captured as data pinging around the network.

Oceans Reimagined illustrates the creativity that can be shared and re-imagined through geographically dispersed collaboration between artists of different cultures.

Stream or download Oceans Reimagined

Stream or download the original album Oceans between Sound

Artist Programme Notes

Please see a selection of artist statements about the process and concepts behind their reimagination of one or more of the Oceans between Sound recordings.

Forgetting Ha Long Bay – The Six Tones with Trịnh Minh-ha and Lê Phổ

The fundamental concept for this remix was to filter the telematic improvisation by the Ethernet Orchestra titled Ha Long Bay through the part of the music to Trinh Minh-ha’s film Forgetting Vietnam which is set in this bay. Hereby, the track effectively became a remix of the music to the film, originally composed by The Six Tones and Trinh Minh-ha, through the music of the Ethernet orchestra. As noted by Trinh Minh-ha, with regard to the title of the film, “documenting is both an act of memory against forgetfulness and a deliberate gesture of forgetfulness against memory.” The sonic materials from the film provide a further situatedness, and recontextualizes the music in the telematic improvisation. New layers were added by first making dan tranh recordings with Nguyen Thanh Thuy, and live electronics by Henrik Frisk. The piece also features the Vietnamese master of the traditional flute, Le Pho, with Stefan Östersjö, 10-string guitar. 

Website

AQAXA

The night sky is full of incredibly distant stars. Alpha Centauri is four light-years away, which means that we see it as it was four years ago. Betelgeuse is among the brightest stars we can see from here, yet it is 640 light-years away. We see it as it was when the physician Raimundo Chalmel de Vinario published his treatise De epidemica (On epidemics), which described the decreasing mortality rates of the bubonic plague outbreaks. The pandemic had peaked three decades earlier, claiming 25 million lives in the continent (about a third of the population) and many more around the globe. It was 1382.

Now imagine sending sounds through a network with a very long latency. Not milliseconds, but years. Different sounds played over half a decade by an orchestra of musicians scattered across the globe echo and overlap with a phone call made just a few weeks ago.

On a clear night, we can hear the light of these and many other stars, all at the same time. 

AQAXA 2022 – More Information

Selenge – Telematic Remix by FLO (Female Laptop Orchestra) with Sounds from Zadar, Warsaw, and Palermo, Italy.

Prior to the start of Covid-19 pandemic, FLO activities included workshops, talks, and performances which were primarily co-located whilst bringing in the streams from the members of the ensemble
who were globally distributed and could not travel to the location where these activities were happening.

This all changed overnight with the first lockdown, when, like many artists around the globe, we started exploring different ways of collaborating musically which was relying on the network and the ‘language of distance’ (ie ‘Default Jitter Buffer’ and ‘Auto Adjust Drop Threshold’) as a temporary substitute for the ‘language of presence’ (ie nodding one’s head or waving one’s hand as a cue for the next section to start) afforded by the close proximity of the performers. This became an exciting as well as technically challenging ‘new normal’.

For the EO remix album, we decided to ‘extend’ the improvisational structure of Selenge by remotely improvising along (from Zadar, Warsaw, and Palermo) with the instrumentation we usually use and recording the outcome. However, within the first few minutes of our attempting to do so, we realised that the instrumentation used on Selenge (moorin khuur, throat singing and tar) utilised non-western tuning, and we would have to adapt by de-tuning the cello and using Japanese Shinobue flute, Theremin, Shaker, Tambourine, Triangle, voice and a sample of Polish Polka rhythm on Baraban, alongside soundscapes of Zadar, to match the original tuning. The remixed track includes instrumentation parts recorded during three different improvisation sessions captured remotely, which were then recomposed in line with the original intention of the track (we hope!).

Image reflecting this process by Maria Mannone.

Instrumentation (in addition to Selenge instrumentation)

Soundscapes of Zadar, editing, mixing (Nela Brown), Cello (Magdalena Chudy), Shinobue, Theremin, Shaker, Tambourine, Triangle, voice (Maria Mannone), Baraban (sampled from https://bebnista.pl, developed by Łukasz Nizik).

FLO contributors are Nela Brown, Magdalena Chudy & Maria Mannone.

For more information on FLO Production Process

Further Information FLO Website

Beta StirringDoug Van Nort
This piece was created in Toronto, ON, Canada on October 5th+6th, 2021. It was created from radical transformations of the piece “Bering Strait” by The Ethernet Orchestra. On October 5th, I chopped the left channel of this existing recording into 11 smaller sections and performed improvised transformations of these fragments to generate a large pool of new material. On the 6th, the piece was created in the studio by juxtaposing and layering selections of these many shards of new sonic content.

Doug Van Nort 2022 – Website

Vedad FamourZadeh

I become acquainted with Ethernet Orchestra in 2011, and I have introduced some of my Iranian friends to play with the ensemble since. I have followed performances of the ensemble through these years, and I am fascinated by the fluidity and delicateness of amorphous sound created by musicians living in and out of, located within and dislocated from, a common sonic space. My small collaboration was an opportunity for me to pay my tribute to the ensemble.

Aares – (Blauhaus Mix) Mac Dunlop

The original Oceans between Soundtrack “aares” was re-synthesised using a twin oscillator analogue device. A repetitive single note or ‘metrodrone’ was recorded to introduce an arhythmic overlay before an automatic text reader was added to provide vocals using an abstract poetic voice. An autowritten text was made to form a new libretto for the piece. The remix of ‘aares’ is inspired by the work of the Japanese artist and composer, Kishin Funada.

Oceans between Sound (Generative Mix) – Thomas Park

When I heard some samples from the ensemble work ‘Oceans Between Sound’, I was struck by several things. This was a beautiful, vast, global kind of music, with elements of jazz and quite atmospheric. Further, the modality of the phrases reminded me of my notion of an ‘iterative’ set, in which every part can be infinitely combined with any of the others. With the ensemble’s permission, I was able to demonstrate this quality by coding an application that pulls in, and plays, random looped segments from ‘Oceans Between Sound,’ and indeed, these new iterations sounded equally lovely, ambient, and modern. My track is a snapshot of the output of my generative app, which helps to broadcast the gorgeous intensity of this ensemble and work with new combinations of sound, new phrase-based mixtures.

Thomas Park January 2022 Website