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https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/

Fern (Bregne) 1:19 Typha (Dunhammer) 0:18 Teasel (Kartebolle) 0:14 Willow (Pil) 0:40 Thistle (Tidsel) 2:00 Burdock (Burre) 1:15 Teasel 2 (Kartebolle) 0:57 Hogweed (Bjørneklo) 1:19 Thistle 2 (Tidsel) 0:40

🌿 Jammin' with plants! 🌱 At the @positive.trace.festival, I've facilitated a workshop where we 🎶 * listened to the #vibroscape of various local plants 🪴👂 * improvised on samples/loops from the plants 🎵🌿 I added a #clarinette 🎷 #improvisation afterwards. 🎶✨ This is an attempt to create a new communal musical culture from scratch 🌍🌱 - based on how it feels to be (vibrations inside) a plant 🌿💚. Read more here: https://buildingsoundcollectives.com/2026/08/29/plant-vibrosphere-jam/ #bioart #phytoacoustics #bioacoustics #plantacoustics

Arbejder med at finde de matematiske formler, omsat til lyd, som skal lukke op for kragekanalen, dvs. kragernes kollektive erindring... Her har jeg analyseret et kragekald, fundet overtonerne, omsat disse til talforhold, - 10 8 3 2 1 - og disse tal er omsat til tempo, rytme og tonehøjde, samt klanglige farvninger.

Solo klarinet og analog synth. Før koncerten i morgen; en forpremiere.

A synth 'improvisation' on maxmsp, played in the room, recorded by a geophone attached to the window...

More experiments with maxmsp to prepare for my forest concert... Developing an 'analog' synth in maxmsp, and using 'cellulose' sounds, IE, sounds made of wood things, as 'percussion'; and, finally, using the poetry of Inger Christensen as basis for the melodic parts.