eˉlektron’s residency program is providing support for transdisciplinary research. We help, as much as we can, artists to find scientists to solve any burning question they might have. And vice versa. The residency’s experiments, inventions and failures will also be made public as we believe in open discussions being an important drive in research. Old proverb says that curiosity killed the cat. eˉlektron does not respect that – curiosity eˉlektron’s nuclear fuel. No more. No less. Contact: residentuur@elektron.art

Evi Pärn

Evi’s interest is in “accent” and the social stigmatas and politics around accents. She is studying language trough biopolitics and reviewing the linguistic ecology study in the era of globalisation. With the help of TalTec language technology laboratory she will dive into how to measure accent with the help of technology and how to scientifically identify and map accents. Furthermore, Evi would like to figure out “the formula” of accent which then to translate to visual representation.

Evi Pärn is a designer and performing artist based in Tallinn. https://eviparn.wixsite.com/parnevi

Hendrik Kaljujärv + Hans-Gunter Lock + Liisa Hirsch

The starting point of my query draws from the article “Mikrotonaalsus kui diagnoos” (“Microtonality as a Diagnosis”) written by Kerri Kotta a few years ago artiklis “Mikrotonaalsus kui diagnoos” (https://www.sirp.ee/s1-artiklid/c5-muusika/mikrotonaalsus-kui-diagnoos/). Even though the source text is a review of one particular festival, it touches upon several topics and questions worth to be explored further. Moreover, it seems to me that the threads of thoughts in this text may be accessible from a larger perspective than merely the one of microtonal music.

For example, the analytical assumption touching upon the art theory and sociology in which Kotta postulates: “The microtonality in music is the reflection of the welfare society on its way to feminization.” Or a more practical elaboration touching upon the theory of music: “/.../ the gestures of microtonal music, the unexpected attacks independent from the musical dramaturgy, are like paroxysms seemingly caused by an outer unrecognizable stimulus or by a system crash.” Kotta finishes his articles with: “/.../ microtonal music is not developed, it is left alone to develop by itself (the same way, more or less, a plant is left alone to grow). The composer, as a creature with intentionality, seems to have retreated from the process. Just as today’s society, it has also fallen into the trap of surplus knowledge excluding automatically most of the ways to act and thereby is destined to a certain state of lethargy.” My aim is to lay this surplus knowledge on the table and then remove it from there in order to see whether the microtonal music/art would come to life. 

With this aim in mind, I am inviting two specialists to collaborate with me. Hans-Gunter Lock – a composer and a musicologist originally from Germany, living and working in Estonia. Currently Lock is actively looking into the possibilities for microtonal organisation of pitch using Bohlen-Pierce scale. Liisa Hirsch – a composer teaching contemporary techniques in music composition and notation in Estonian Academy of Music and Theatre. Her work is distinctive by a sensitivity to timbre, focusing on sound, it is also characterised by clear structure and purity of form. Hendrik Kaljujärv - a composer and performer. Performs music with Karl Saks (Cubus Larvik) and Maarja Nuut. Hendrik has a solo project called "ruum". Has created music for many productions and directed himself. Studying audiovisual creation at the The Estonian Academy of Music and Theatre.
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