∴ Phil Minton David Maranha Gerard Lebik – ADVENT
voice electric organ generators
Music inspired by Melancholy of Resistance, Laszlo Krasznahorkai’s magisterial, surreal novel, depicts a chain of mysterious events in a small Hungarian town. A circus, promising to display the stuffed body of the largest whale in the world, arrives in the dead of winter, prompting bizarre rumours. Word spreads that the circus folk have a sinister purpose in mind, and the frightened citizens cling to any manifestation of order they can find – music, cosmology, fascism.
∴ Gerard Lebik Noid Duo
sound objects cello
brute, cluster, compressed, drastic, feral, industrial, sparse, statement, tackling,unpredictable, combustion, cutting, desultory, flash, lax, psephite, raise, rambling, straight lines, vane
Recorded by Gerard Lebik & Noid at BWA Studio Wrocław, Poland on 30/10/2013
Released: June 2020 inexhaustible-editions Produced by László Juhász
∴ Burkhard Beins Gerard Lebik Duo
digital electronics analog electronics
Gliss – Released May 5, 2020 Zopan Records
Leap second June 30, 2015 at 23:59:60 UTC
A leap second is a one-second adjustment that is occasionally applied to Coordinated Universal Time (UTC) in order to keep its time of day close to the mean solar time, or UT1. Without such a correction, time reckoned by Earth’s rotation drifts away from atomic time because of irregularities in the Earth’s rate of rotation. Since this system of correction was implemented in 1972, 26 leap seconds have been inserted, the most recent on June 30, 2015 at 23:59:60 UTC.
The UTC time standard, which is widely used for international timekeeping and as the reference for civil time in most countries, uses the international system (SI) definition of the second, based on atomic clocks. Like most time standards, UTC defines a grouping of seconds into minutes, hours, days, months, and years. However, the duration of one mean solar day is slightly longer than 24 hours (86400 SI seconds). Therefore, if the UTC day were defined as precisely 86400 SI seconds, the UTC time-of-day would slowly drift apart from that of solar-based standards, such as Greenwich Mean Time (GMT) and its successor UT1. The purpose of a leap second is to compensate for this drift, by occasionally scheduling some UTC days with 86401 or 86399 SI seconds.
Berlin – a leap-second sound recorded using a small steel ball rolling across the concrete ground of the backyard.
Paris – a leap second sound recorded on 3 simultaneous layers/focals of the same action:feld recording (binaural microphones/ tape recorder) of the “start/stop” recording process of our second made on another tape recorder, the sound of this (second) tape (omni microphone/tape recorder with high recording level), headphones/ omni microphone feedback created with second recorder’s playback.
Seydisfjordur – leap second sound recorded using victorian synthesizer inside silo in Herring Meal Factory
∴ Ryoko Akama Gerard Lebik – What Are They Doing?
sound objects air objects
Is their sound performance combining the elements of individual aesthetics: Whilst Akama deals with motors, magnets, fans, bowls or other found materials, Lebik participates with rotating air cans. Layers of subtle sounds intertwine each other to create a collage of acoustic vibrations and air fluctuations, changing space into an acousmatic instrument and changes the conventional properties of listeners’ perceptions. This collaboration is a preserving and recasting act of identity. The objects collaborate and intermingle as a whole as well as independently and concurrently. It is a situation‘ where space is to be experienced.
Ryoko Akama is a sound artist/composer/performer, who approaches minimalistic compositions that magnify silence, time, and space and offer quiet temporal/spatial experiences. Her works examine delicate and fragile objects such as paper balloons and glass bottles, creating tiny occurrences that embody ‘almost nothing’ aesthetics. She runs melange edition label, amespace and co-edits mumei publishing.
∴ we don’t need a body – sound installation
Sanatorium of Sound Festiwal 2019 as a part of Musica Sanae.
Sound installation that uses age-old surgical tools to generate sound. 19 Tools, 12 Speakers, Victorian Synthesizer.
Musica Sanae Sokołowsko 16-18 August
part of Sanatorium of Sound festival
Musica Sanae is a research-based art project dedicated to intersections of sound and medicine. In three consecutive events in Naples, Sokolowsko and Berlin over forty musicians, performers, researchers and theoriests will present their takes on how new ways of hearing produce and underlie our notions of hygiene, health, well-being, progress and sanity. All acts will be hosted by unique venues of which most are of historical importance for medical architecture. curated with Phonurgia (Naples), In Situ (Sokolowsko), N.K. Projekt (Berlin)
Peter Abliger; Felicia Atkinson; Tiziana Bertoncini; Biuro Dźwięku Katowice; Erik Bünger; Luciano Chessa; Rudolf Eb.er; Les énérves; Hacklander / Hatam; Carl Michael von Hausswolff; Gerard Lebik; Barbara Kinga Majewska & Tony di Napoli; Maria della Morte; Anthony Pateras (with Tiziana Bertoncini, Lucio Capece, Riccardo La Foresta, Gerard Lebik, Mike Majkowski & Chiara Mallozzi); Phonoscopie; Seppo Renvall & Aspec(t); Testcard
∴ Gerard Lebik – Nation Itself- turning political scene. Polish Theater in Poznań – Sound Performance
Gerard Lebik – “Nation Itself- turning political scene” Polish Theater in Poznań 12.05.2018 Sound Performance Compressed Air Sinus Tones Alarm Lights video:Patryk Lichota In the catacombs of the Polish Theater, just below the stage, there is a forgotten, ancient mechanism that has already come out of use. It is near the nineteenth-century rotational scene, once driven by the strength of human hands. Moved after years of silence, it will be able to change the course of history, rewrite it, and the sound will become its catalyst … The sound performance of Gerard Lebik’s “Narrative Being: turning a political scene” is not just an entry into the discourse (bio) of power and asking a question about what (and above all – whose cost) we set in the field of view. The choice of such a space of artistic activity is combined with the curatorial assumption of exploring the edges of the theater: and in the formal (performance art, sound art, improvisation) and organizational layer (curatorial of the performing arts as an alternative to the dominance of the repertoire theater). Due to fire restrictions, the performance will take place in two rounds: at 19 and 19:20. — This is another event in the framework of the “Edges” project, which explores artistically and scientifically various types of edging: theater, anthropocentrism, and civilization. curator: Rafał Ziąbka
∴ Gerard Lebik – Saccade – 8 Channels Sound Installation 16th media art biennale Wro 2015 Test Exposure.
Saccade – The space-time continuum deconstruction – 8 channel sound installation. 16th media art biennale 13—17 May 2015 WRO 2015 TEST EXPOSURE A saccade is quick, simultaneous movement of both eyes between two phases of fixation in the same direction. The phenomenon can be associated with a shift in frequency of an emitted signal or a movement of a body part or device. Controlled cortically by the frontal eye fields (FEF), or subcortically by the superior colliculus, saccades serve as a mechanism for fixation, rapid eye movement, and the fast phase of optokinetic nystagmus. The word appears to have been coined in the 1880s by French ophthalmologist Émile Javal, who used a mirror on one side of a page to observe eye movement in silent reading, and found that it involves a succession of discontinuous individual movements.
∴ Keith Rowe Gerard Lebik – Dry Mountain
prepared guitar sound objects
Keith Rowe / Gerard Lebik – „Dry Mountain” as a part of “The Fall of Recording” curated by Michał Libera and Daniel Muzyczuk.
“Dry Mountain” is a reflection on the form and interpretation of a musical and visual work, composition and image. The musical composition becomes the frame for the creation of the visual work and the visual work is treated as the score for the performance of the music, creating endless cycles of interpretation and reinterpretation. Initially, the musical work created by Keith Rowe and Gerard Lebik is interpreted by the visual artists invited to the project: Bożenna Biskupska, Alicja Bielawska, Daniel Koniusz; then the created visual representations of music are reinterpreted by musicians: Johnny Chang, Mike Majkowski, Bryan Eubanks, Xavier Lopez, Jonas Kocher, Gaudenz Bardutt, Emilio Gordoa, Kurt Lidwart; the next scene is a real-time interpretation by Brian Olewnik, Michael Pisaro and Lena Czerniawska who create drawings which are again interpreted by musicians. The project assumes the endless cycle of transition from sound to visual and visual to sound.