Oorbeek Surround Ombromanie at the IFFR

More exciting Oorbeek news: at february 3, 2011 Oorbeek will deliver another Ombromanie experience. Technically it is the reversed version of the Ombromanie session in the Vondelpark Gazebo – see pictures at my Facebookpage - since in Rotterdam the audience will be in the middle of the space, and Oorbeek will be projected all around them, in full 4D (yes, the skin is the inside of the universe). Furthermore Laurel Elam Howard will be joining in the vocal range of sonics!
It will all happen at the HILTON hotel/yourspace, Kruiskade 9, Rotterdam. Pips:Lab has graciously lent us their 3D oculair to be able to document this event as true as possible to its original form…

The Situated Music Manifesto

For too long music was either a sphere on its own – an autonomous system of producing meaning that effectively bypassed abstract symbolic levels and language by entering the perceptual system through a unique sensual shortcut, òr it was a representation: a symbolic narrative of consecutive emotional states. Music was either a autonomous perceptive sphere, or it re-mediated a specific emotional continuum with sonic means.
Situated music is a third way – it is not a narrative, nor a self-referential system – it is a music that touches the world, a music that the world touches.
Situated music is a music that brings play to its environment. It doesn’t absorb environments into the sphere of music-making, it is the other way around: it makes music-making an act that follows from its immediate material and memetic surroundings – a situated act.
Situated music is a porous practice.
‘Things’ don’t become instruments – instruments are things among other things, each with their own sonic agency. Some things can be directional – in them is discovered an agency that is more on a par with that of a conductor than that of a player or an instrument. Some things sound right. Other things may have a capacity for listening, or resonating.
Situated music is indeed a way of listening, that allows for holes to be present and to be filled with other givens. But it is also a way of playing – as much a way of acting as of allowing. Situated music allows a place to appropriate the sonic sphere and its related means of perception.
The time and place have come for situated music.