Annie Tådne

EVERY

EVERY is a constant and at the same time a fluctuating compound, where certain combinations, movements, orders, positions and shapes generate a resonating body. When actuated by force and light, mechanical rhythms begin to decay as victims of gravity, and magnetic hums make obscured fields tangible in sound-space. By letting commonplace and antiquated objects coexist with simple and functional electronic components, this piece reveals an intricate series of relationships between natural phenomena and chaotic forces of life. Every little thing is part of a larger system and Every is subject to corrosion.

 

Boberg 1.

Boberg 1. explores frictions between distant and present memories. The system forms a hands-on interplay between material and computational properties, where instrumentation of physical objects are forming audiovisual resonances. Material structures are being decoded into fleeting sounds and modulated through manual calibration. By the use of computer vision and live cameras, a real-time system is created which bridges the digital and physical elements. The cameras are acting as the violin, and the objects are acting as the bow.
Boberg 1. got nominated to The Lumen Prize 2019 and received an Honorable Mention at the Matera Intermedia Festival in Italy 2019. A lecture and workshop were also set up around the piece at Late at Tate Britain 2019.
Performances:
Matera Intermedia Festival, Italy, September 2019
Dorkbot London, April 2019
Late at Tate Britain: Liquid Reflections, March 2019
Creative Machine 2, November 2018
Echosystems, September 2018

Paroxysm at Norbergfestival

Paroxysm is a mesh of light constructed and activated by surrounding noises made by the Mimerlaven site itself and its spectators. By drawing on spatial relationships, its features aim to invite others to partake with their individual experience of space through sound. When meaning is generated and shared through spatial and embodied cognition, it amplifies a construction of a reality that is active, dynamic, collaborative and co-evolutionary in our highly individualised society. The space, the installation and the participants are together seen as one entity, where the participants are a part of the space, absorbed by it and also subjected to it. The outcome may be a form of collective paroxysm, a co-emergent awareness, where existence is a mutually influential correlation with the continuous transformative environment.
Norbergfestival is located at the defunct ore mine extraction site Mimerlaven, located centrally in the town of Norberg. The festival hosts events of contemporary, experimental and electronic music and open encounters between artists, volunteers and visitors in Scandinavia. The installation was exhibited at Krossverket, a concrete room located in the basement of the Mimerlaven ore mine facility. The room has a natural cavernous reverb, with further trails of long reverberation emanating from the adjacent mining hall and unknown spaces above and below.


bacteria of cheese, death of silence, erasure of self.

 

A study in noise as parasite: laser engravings on self destuctive acrylic records.

A translation of digital sound into vectors, to laser engravings on acrylic, and back to sound again. A looping parasite is born, a being in-between, an interrupting force. The same parasite that Metzger met at South Bank. Or what Basinski encountered on a rooftop. When sonic agency is in hands of material forces, the mediation becomes a living organism – a generative system, conducted, but not entirely in control by its own creator.

paper_annie-tadne_parasitic-sounds.pdf