• Works

    List of works

    Hardi’s music published by Svensk Musik, for score click the link www.svenskmusik.org or contact Hardi.

    What we see and hear affects our bodies both physically and mentally. A diagnostic machine can capture our reactions to these external stimuli and translate them into graphical parameters, which creates an abstract image of what we feel.

    Diagnosis machine shows the body condition through finger sensors (ECG), which to me is interesting from an artistic perspective. Namely, they can connect music with graphic parameters. In my research, I seek new ways to make music out of something that not usually seen as music, but that can interpret and interpreted through music.

    The emphasis of the work “Diagnosis Machine” is the ability to reflect the body’s reactions interactively. I can not personally explain how the machine finger sensors analyse the responses of the body, but what I do know is that the DM reaction is depending on how a person moves their fingers. It creates tension, intensity and silence. In this way, the diagnostic machine like an instrument to experiment with purely visual. To make the experiment more creative, I have composed a structure for a sound interactive designer to build a program that can translate the visual image through to sounds by sampled sound or synthetic sound. This composition structure can use as a guideline for live performing by musicians with the monitor as well. The DM colours and curves, which are the basis for how the body can analyse, and via finger sensor alter the body into a musical piece, a musical instrument or a sound interactive installation. The project is not just about music for better health. It is also about to experience music in a creative and different way, in a new place; which can open up to other associations to a hospital. Something we (me) misses it today! From a musical perspective, the project is seeking new musical compositions to interpret and contextualize the material from a particular place and to connect them with an interdisciplinary medium for contemporary art. With the goal to open up to new ideas and aspects of how music affects our perception of the environment and the places where we live.

    The Cartographic notation of Recycling Objects (“CNRO”) consists of the design of a new cartographic notation method. A composition of recycled objects, notation method, and geographical positions 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.

    The cartographic notation of recycling objects; a composition of geographic locations and recycled objects is represented in two musical components – the timbre and gesture – which creates a radically differing dimension to tell a new story about the relationship between people, environment, and culture. A new way to create music. Inspired by archaeological methodology analyses – for the notation selected – object’s visual and aural qualities like historical objects. Also in connection with the public meeting, where the visitors themselves playing the cartographic notation. In the process, notation and sound have an equivalent place of the creation. The cartographic notation visualizes how an object sounds (timbre-gesture) and participants are free to follow the time and the sound in real time; creating a new interactive way to play “music notation”. A new method where the audience becomes a pioneering interpreter, creative force and fellow players in the historical writing of the present.

    This project creates a new dimension and perspective to 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 the outside can take part of the process from beginning to end, to inspire more people to experiment and develop their own cartographic notations.

    The contents of “CNRO” creates new associations between music notation and the sounding world that represents a particular time and place in human history. The project theme changes the way music is composed by adding time and place in the composition. A new medium for collaboration and interaction with audience, on an artistic level, to be included in a forum, where understanding and critical reflection of the idea and the music is the focus. The project is risky to implement. It is an unexplored area, and it requires a lot of experimentation to see how and in what ways it is doable. Firstly, the design of the cartographic notation, but also how to get the best result of a working implementation. Therefore, the cartographic notation can explore various designs of this kind of music notation. The design of the “Sounding Board”, which is the surface on, which the cartographic notation is projected is a complex challenge for the project. The table is a sound installation work by itself. Then each part of this table is setup with contact microphones. The sounds occupied then go to Ableton Live (a computer program). Contact microphones specially selected for their ability to capture the subtle nuances of visitor’s musicianship with the objects. A requirement to catch attention to observe and reflect on the sounds produced. The sound is uncontrollable in detail as the computer program processes it. Which in itself makes the created gestures an interest and a challenge that creates interaction with another front performer, and not least with the room itself. The result is a qualitative exploratory process built on curiosity and the multiplexity of reactions.

     

    18.09.2015. Göteborg. Stadsbiblioteket (city library). Performed by Non-Ensemble: Marie, viola. Linnea, violin. Khabat, cello and Hardi, violin.

    10.7.2015. London. Visual art exhibition. Goldsmiths. Performed by Khabat Abas, cello. Hardi Kurda, viola on table, live electronics and artist Sherko Abbas, custom-made instrument.

    How a custom-made instrument inspires to new notation design that based on body action, which challenges by conversional instrument to interpret and it results in new sounds. The music notation written for the art project under titel When the wild instrument sings! link

    190615 London for flexible constellation is a series of sound score pieces which sketched from my composition project Conversation, Improvisation and Composition (CIC) which started from 2015. The project documents time and place of the moment that the performer meets before the concert and during the performance, which is flexible in its construction. Each version being formed by a conversation between performers. CIC aim for is to create a space for listening by not knowing the unexpected moment. In other words, it is about RESEARCHING on what can be HEARD.

    19.06.2015. London. Deptford hall, Goldsmiths. Project by Hardi Kurda. Performed by Non-Ensemble: Kate Ryder, piano, live electronics. Khabat Abas, cello. Mansoor Hosseini, percussion and Hardi Kurda, violin and live electronic.

    03.10.2015. Vara. Concert hall. Magnet festival. Biennale for contemporary music.
    05-12.05.2015. London. St.James Hasham, Goldsmiths. Sound|Place exhibition.