Soundprints: Sealed in Sweden achievements to date include:
* 2011 Prix Phonurgia Nova Awards (final selection round status) in France.
* Selected for broadcast on WDR 3 (Germany), Studio Akustische Kunst [Studio Acoustic Art] programme, 16 November 2012.
* Selected for broadcast on HRT Croatian Radio 3, 5 June 2012.
* Selected for broadcast on Kunstradio, Austrian public radio ÖRF, 27 May 2012.
* Selected for the International Feature Conference, London 2012 held at BBC Broadcasting House, 16 May 2012.
* Selected for broadcast for at the RadiaLx 2012 International Radio Art Festival, Lisbon, Portugal
* Selected for broadcast on RTP (Rádio e Televisão de Portugal), Dois ao Quadrado programme, 12 December 2011.
* Work selected for diffusion at the Gaîté Lyrique in Paris, 11 December 2011.
* Installation of the work selected for the "Sound Plaza" launch at the Verge Gallery, Sydney (Australia), 24 November 2011.
* Selected for broadcast on YLE Radio 1 (National Finnish Radio) Ääniversumi programme, 31 October 2011.
* Selected for broadcast on ABC Classic FM (Australia), New Music Up Late programme, 27 August 2011
* Selected for broadcast on Sveriges Radio (National Swedish Radio) Monitor programme, 24 and 25 August 2011.
* Selected for broadcast on Radio Clásica, Radio Nacional de España (Spanish Public Radio), Ars Sonora programme, 21 August 2011.
* Selected for broadcast on Resonance104.4fm (London), 8 July 2011.
Please note that this album is meant to be played continuously from start to finish without any pauses and/or silences between the tracks.
ABOUT THE WORK
Soundprints: Sealed in Sweden (duration 51 minutes) is constructed from sonic snapshots and aural impressions of Sweden, which are coloured by sparse personal Swedish stories spoken in English and Swedish. While not representative of Swedish culture, this work does however give us a glimpse into the personal lives and viewpoints of the Swedish people who where interviewed while the artist was collecting material throughout Sweden for this work. Interviewee Marja Gustin states, “There is the Swedish culture I guess that you show to other people and there is the Swedish culture that you take part in yourself ... ”.
In a sense this work responds to Paddy Scannell’s statement that radio “broadcasting might combine techniques drawn from cinema with a poetic style to build ‘sound pictures’ that appeal to the listener’s inner ear.” With this in mind, the treatment of the sound world of this work resembles that of a well composed photograph, where the perspective, proximity and timing is of the up-most importance. Much more than just a series of atmospheric recordings sourced from Sweden combined with language and musical composition, this work explores sonic perspectives. Micro-sounds have been recorded at very close proximities, amplified and juxtaposed in the foreground against marco-soundscapes to form new sonic perspectives with a sense of hyper-depth. These sonic perspectives work to reveal the “hidden” utterances within the Swedish soundscape, where din becomes texture while micro-sounds from the location are positioned carefully up against the listener’s eardrum. In this way the microphone is used like a zoom lens to examine these ever-present micro-sounds that are usually over looked and unheard.
Moreover this work explores the documentaire de création, as in Kaye Mortley’s description, “less to instruct or inform and more about creating a universe (in the largest sense) woven from real sounds”. A “universe” full of sonic artistic possibilities designed especially for radio, where actuality, music composition and dialogue poetically reveal acoustic messages that were sealed in Sweden.
ABOUT THE COMPOSER
" … amongst the most significant Australian creative artists of his generation, a composer/sound artist who has created a significant body of important work in a relatively short time, work which spans installation, sound art, fìlm, radiophonic works, and beyond, with many of these works having gained international attention." - John Davis, CEO Australian Music Centre, 25 February 2011
Internationally acclaimed composer/sound artist Colin Black won the prestigious Prix Italia Award (2003) in the category Best “Music Radio - Composed Work” for composing and producing his major work The Ears Outside My Listening Room, described by BBC Radio 3’s Mixing It programme as “a haunting evocation of Australia”, while the Prix Italia Award’s International Jury Report stated that it, “... lived up to the claim … that here was a patchwork sonic quilt that can be passed down the generations.”
In 2009 Black was commissioned by Deutschlandradio Kultur's Klangkunst to create a feature length radio art work from field recordings made in East Germany entitled Kilian’s Antipodean Dream, which as a result of achieving final selection round status in the 2010 Prix Phonurgia Nova, was broadcast as part of the Semaine De La Creation Sonore [Week of Sound Creation] festival in France. Prior to this in 2008 Black had been invited by Czech Radio’s rAdioCUSTICA program to create Soundprints: The Prague Pressings for both broadcast and CD release. For the Australasian Computer Music Conference 2008, held at the Sydney Conservatorium of Music (Australia), Black created his sound installation work The Extended Enviro-Guitar (XEG). In 2007 Black composed and produced a major musical/radiophonic hybrid work entitled Longing, Love & Loss for performance and broadcast on the Australian Broadcasting Corporation network. Black also created the Butter Churn sound sculpture installation in 2007 for Lismore’s Heritage Park (Australia).
For more Information see www.colinblack.com.au