/ Julia Eckhardt – Occam VI by Eliane Radigue – Brehmer’s hall -18.08 19:30 /
The idea for this piece was initially inspired by a large mural that I saw by chance in 1973, at the Museum of Natural History in Los Angeles. It showed the “spectrum of electromagnetic waves” moving from the largest to the smallest of known measurable wavelengths. Out of this large spectrum, there is a tiny zone from slightly less than 100 Hz to slightly more than 10 KHz that the ears of certain species populating the planet earth, have transformed into “sounds”. Later, I discovered interesting parallels with several of my reflections on William of Ockham and his famous treatise “Ockham’s Razor”. Expressed most succinctly in his own words, “The simplest, the best”, it has been adapted and used by numerous artist/creators. Last, came the distant recollection of a science fiction story I had read about the existence of a mythical ocean. Only the title remained etched in my memory, “Occam’s Razor”, which explains the origin of the spelling I chose. It seems in fact that the Ocean with its multiple waves allows us to symbolically be in contact with a rather large spectrum of vibrating undulations, stretching from great deep-sea swells to wavelets sparkling on a fine summer day. This explains the overall “structure” of the project. The work mode is based on an individual “image” illustrated and evoked within each solo. Each musician is guided by his or her personal “image”. This provides the essential, letting descriptive words and evocations establish a system of communication as the piece is being elaborated, and through this intuitive-instinctive process, we are guided to the very essence of music. There will be as many solos as there are volunteers willing to enter into this shared experience. They become the “sources”.
“Working on OCCAM IV and playing it, is like being guided through a landscape of water, sometimes actively searching, sometimes letting the attention linger on whatever it is attracted to. It is a path between activity and drifting with the play of water, wind, and light shaping abstract patterns the ear is drawn to, with concentration and ease.”
Julia Eckhardt is a musician and curator in the field of the sounding arts. After her studies she played in different chamber music groups, and a couple of years in the National Orchestra of Belgium. Since 1995 she is a founding member and artistic director of Q-O2 workspace in Brussels, which was first an ensemble for contemporary and improvised music, and became in 2006 a workspace for experimental music and sound art. For Q-O2 she initiated and curated different thematic projects (e.g. Field Fest, Tuned City, Interpretations., the other the self, //2009//, DoUndo-Recycling G, Abstract Adventures, De Tijd is Rond, Speling). She has been collaborating with composers such as Eliane Radigue, Phill Niblock, Pauline Oliveros, Stevie Wishart, Jennifer Walshe, Wandelweiser-composers, Antony Coleman, and as an improviser with musicians such as Andrea Neumann, Burkhard Beins, Rhodri Davies, Keith Rowe, Aernoudt Jacobs, Lucio Capece, Taku Sugimoto, Robin Hayward. She is part of the group Incidental Music which operates in the field of conceptual music and near to the Wandelweiser composers group, together with Manfred Werder, Normisa Pereira da Silva, Angharad Davies and Stefan Thut. She has been teaching and lecturing at Lemmens Institut (conservatory of Leuven), Transmedia (postgraduate program of Sint-Lukas Brussels University College of Art & Design, Brussels) and La Cambre (Ecole Nationale Supérieure des Arts Visuels, Brussels). She grew up in Berlin and lives and works in Brussels.