DoUndo/recycling G is a project initiated by Julia Eckhardt (viola) and Ludo Engels (recording). They have been collecting exclusively long viola sounds, rich in overtones and partly distorted. This ‘collection’ of sounds was then presented to other (sound)artists, proposing further processing.

Invited artists and their contribution:

Sergio Merce
Sobre el nivel del mar (for tape and one live improviser) – This piece is born from the assumption that there is a place within music in which time doesn’t exist. Musing around this idea, I locate this non-temporal moment between sound and silence. In the exact instant in which they get in contact. The only way to arrive at this absolute void, is to empty ourselves of time. It is sound just slightly scraping silence. This contact is the most important fact, the door which opens the path towards the referred emptiness.

Jens Brand

“HCATS(MPIG)” how come – all the same – (my problem in G) for violin & tape / (trombone) electronics & light

HOW likely is it to do the exact opposite of something? COMEts can only be seen while they disintegrate. ALL in all it is unlikely. THEre is no opposite of anything.

SAME things always differ.

(MY opinion on this always differs as well. PROBLEMs are like comets. IN certain moments they don’t vanish because they are too bi-G).

Els van Riel

DOUNDO is a dialogue starting with the question: what layer can be added to the rich sound layers of given viola tones. My answer is an image, composed with different layers only vis- ible due to changes of light. At my turn I want to ask a ques- tion back to the viola: does my image touch another sensitive string? The viola, if she wants, takes over the sound again, changes it, keeps the dialogue alive.

Jim Denley
wave/particle Through a series of filters, gates and editing (slits), I turn what was a wave of sound, into the ‘particles’ that are im- plicit in that sound. The two live musicians will take compli- mentary roles, one playing a long wave, and the other only discrete particles.

Aernoudt Jacobs
Playground G ‘Playground G’ is an installation/performance with a number of modificators, noise shapers and noise makers. They all have the purpose of altering the sound of the viola through different materials (ig. ice, clay, water). It is a research in the resonance frequencies of materials. Every material has a frequency where it begins to resonate and modulate. This influences the sound in a peculiar way.

Anne Wellmer

A composition made from the viola sound reservoir is com- bined with two spacial elements: a strong green reflecting light and the movement of the viola player who is, with a microphone on her forehead, in search of feed-back in the performance space.

Lucio Capece

Piece one: around 30 minutes. I took from the sounds moments in which there is no develop- ment, static moments in one kind of material. (…) The idea of the piece is to create music in a non narrative way. Beginning, ends or processes are not considered. Music is considered as a portion of endless time.

Piece two: around 15 minutes. I took sounds of moments in which the material develops. (…) Music is here raw material that evolves internally. The same experience of endless time is searched. The process and the material are in contrast to what is used in the first piece.

Manu Holterbach

part 1: Pic-nic by the high-tension line stepdown transformer (after Jens Brand) Electric powerplants, arc lamp, buzz of an amplifier in a Frederic Le Junter installation, Paris subway’s electric rail- ways, my friend Jean-Christophe Guédon’s fridge, turbular recordings of Jens Brand, Anne Wellmer and Aernoudt Jacobs rehearsals during the Do-Undo night at the Netwerk Aalst, Belgium in october 2006.

part 2: Lady Viola dreaming in a humming cloud of electro- static Viola, electro-static phenomenons in various french trains, alarm of the Netwerk in Aalst, Belgium, a slow after- noon Tonton Macoute drone experience for cheap organ and e-bowed banjo

Stefaan Quix

[0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584, 4181, 6765, 10946, 17711, 28657, 46368, 75025, 121393, 196418, 317811, 514229, 832040, 1346269, 2178309, 3524578, 5702887, 9227465, 14930352, 24157817, 39088169]

Thanks to: Netwerk /centrum voor hedendaagse kunst, Halles de Schaerbeek (Brussel), Bains::Connective (Brussel), Johan Vandermaelen.