Cartographic Notation of Recycling Objects (2016) consists of the design of a new score based on a cartographic method. A composition of recycled objects, this score method begins with a geographical position and an interactive public meeting. The project seeks answers to how people, environment, and art can work together to create a wider understanding of each other that together creates other compositions. Science Festival, Universeum Gothenburg. Performed by Hardi Kurda and Adam Bohman. Universeum Science festival 14 April 2016.
Cartographic Notation of Recycling Objects (“RO”) consists of the design of a new score based on a cartographic method. A composition of recycled objects, this score method begins with a geographical position and an interactive public meeting. The project seeks answers to how people, environment, and art can work together to create a wider understanding of each other that together creates other compositions.
The cartographic score—composing geographic locations and recycled objects—is represented in two musical components: the timbre and gesture This creates an opportunity to tell a new story about the relationship between people, the environment, and culture. This is a new way to create music, to digging for sound, inspired by analysis of the archaeological method. The score selected for visual and aural qualities of historical objects. The visitors (to the public meeting) playing the cartographic score are radically divergent. However, this composition can perform also by professional performer/musician/sound artist as a demonstration for public/audience i.e. the first performance which tool a place in April 2016 I invite the British sound artist Adam Bohman to perform the piece with me in a science center in Gothenburg in front of a youth audience and later the youth public becomes the next performer of the piece.
In the process of performing, score and sound create an equivalent space. The cartographic score visualizes how an object sounds (timbre-gesture); participants are free to follow the time and the sound in real time; creating a new interactive way to playing the “musical score.” The cartographic score is a fundamentally new method for creating interaction between humans, compositions, objects, technologies, geographies, recycling, and art—interactively experimenting with the present. I composed with geographic locations, objects, sound colours, and shapes or forms. The performance represents a new method where the audience becomes a pioneering interpreter, creative force, and fellow players in the history of the present.
To create music based on recycled objects and see these objects as a resource is important for our future society. This qualitative project inspires new generations to be present and active participants of the time and space that is theirs, not least by allowing them to reflect on the phenomenon of recovery from a diverse perspective—a perspective which art can contribute. It creates a new dimension and perspective of the human relationship to the environment through an experimental sound art medium with the ability to create an entirely new musical idiom. The project also aims to create a digital platform where people from outside my project can take part of the process from beginning to end, to inspire more people to experiment and develop their own cartographic musical score.
The contents of the “RO” creates new associations between musical score and environment through a sounding world that represents a particular time and space in human history. The project theme changes the way the music composed by the composer engages time and space in its composition. A forum may create a new medium for collaboration and interaction on an artistic level with the audience, where understanding and critical reflection on the ideas and the music is the focus. The project requires a lot of experimentation to see how and in what ways it is doable. Firstly, the design of the cartographic score, but also how to get the best result of a working implementation.