Vibrö Files no. 5 Plastic People

reworking collaborative composition Jodi Rose with Erik Minkkinen

Journal de Bord d'un petit caillou - Vibrö 5 (track 06)

Jodi Rose’s environment is being reused by mixing other hertzian and vocal temporalities within it. “Adventuring out of my own pace from what was first a natural no-man’s-land into a fast sprout of more human made metallic residues of the riverbank industrial zone , I mix with an new mineral kind , noticing the world around me .Footsteps like metal and other birds pounding heavy , lighter birds whistle and have conversations over head . a mouse tries to give a phone call - A flash of modern to post modern humanity passes by ( i move a the speed of light ) leaving imprints of crossways , of more human made metallic residues, of more human made metallic residues of light ( leaving imprints of light ), leaving imprints to give a natural no-man’s-land into a mouse.

To post naturally into a mouse , post modern humanity passes by ( i move a natural no-man’s-land into a mouse) - A flash of my own pace from what was first a natural fast sprout of light leaving imprints of crossways. I move a mouse that tries to give the speed of more human made metallic residues of crossways was first a fast sprout of crossways. Adventuring out of the residues of the riverbank zone, I ‘m ready to mix with a new mineral kind again and fall in the water flow.” (Erik Minkkinen)

Jodi Rose started listening to bridge cables in 1994, creating Singing Bridges, an urban sonic sculpture. Made with field-recordings, on-site interventions and improvisation in collaboration with artists around the world, Singing Bridges is a conceptual sound work using the cables of bridges as musical instruments on a global scale.

Erik Minkkinen is an activist musician as part of Sister Iodine, Discom, founder of Leplacard festival for headphones, he oscillates between digital dysfunctions and analogue percussions. By recuperating objects such as disused computers, old abondonwares as much as metal fragments for prepared guitars, badly maintained synthesisers and voices, he creates unsteady environments in which he manipulates accidents trying to gather there bribes of melodies within a chaotic universe.

Jodi Rose & Luka Princi miking up Bizovik Bridge, Ljubljana Dec 25, 2007

For this 5th compilation, PLASTIC PEOPLE, we have chosen to illustrate how visual/conceptual artists use sound as a component of a mixed media work or a texture directly worked on with conceptual tools. Depending on the position of the listener, this snapshot can be interpreted as a cliché.

Artists can occasionally show contempt towards the reactionary concerns of ‘experimental’ or electroacoustic music. In the meantime, listening with a composer’s ear will reveal the banality or ‘déjà entendu’ nature of sound used by a fine artist. Hedonistic pleasure of hearing or Kantian reward of understanding?

Perhaps the key lies in considering the background and the intent of each
current in the light of its own history, the ruptures proposed by its avant-gardes, the disjunctions and paradigms of art and music faced with an accelerated hybridisation.