Electronic Frequencies

1/ Dick Raaijmakers. 13:41.
Ideofoon I – 1970 – Ideofoon III 1971.
Ideophone I – 1970 – Ideophone III 1971.

Geluid = Kijken 1971.
Stedelijk Museum Amsterdam,
The Netherlands.
Procédé Sonopresse Rotterdam.

Dick Raaijmakers elecits a dialogue between sound and visual motion in a series of loudspeakers combined with steel balls, spheres or small metal rectangles. The subject of the dialogue is the unmasking of the loudspeaker. ‘The loudspeaker communicates in a very elementary fashion – it speaks and it listens.’ writes Dick Raaijmakers elsewhere in this catalogue.

2/ Ton Bruynel. 09:55.
Klankblok/Sound block 1.
Klankblok/Sound block 2.

Geluid afgeleid van het Kubusproject.
Sound derived from the Cubes Project.
Geluid = Kijken 1971.
Stedelijk Museum Amsterdam.
The Netherlands.
Procédé Sonopresse Rotterdam.

Ton Bruynel’s subject is an object: visually it is a square in which the visitor finds himself among objects which are, in a sense, scale models of the room itself. The sound is derived from the size, the shape (cubic) and the material (steel) of the objects; it is subsequently stored on tapes which return it to the cubes. The succession of sound structures knows neither beginning nor end. Due to its reverberation against the hard (steel) walls, the sound identifies with the surrounding space to a high degree, just as it identifies with the material.

3/ Peter Struyken. 11:49.
Beeld en Geluid programma I 1970-71.
structuren 1-120.
Image and Sound programme I 1970-71.
structures 1-120.
Geluid = Kijken 1971.
Stedelijk Museum Amsterdam.
The Netherlands.
Procédé Sonopresse Rotterdam.

Peter Struycken is concerned with the problem of how to obtain variations in large numbers of structures built up of similar component parts. Under certain conditions a relatively slight variation in a structural rule can bring about a high degree of variation in the visual and auditory effect. Hi Image and Sound programm I, is a model in which he investigates those conditions. The methods are similarly applied to image – changing in time – and sound.

6/ Roland Kuit.  04:13.
Noise Construction 4.
Expositie R U I S 2024.
Exhibition N O I S E 2024.
Apeldoorns Centrum voor Eigentijdse Cultuur. (ACEC)
The Netherlands.
Donemus.

Roland Kuit  let us experience the moving world of Noise within ourselves and around us. At the micro level, it is a constant flow of information, full of changes and variations. Yet noise is something that many people ignore. But when you open yourself up to noise, a whole world unfolds, as Roland Kuit discovered. Exhibition R U I S / N O I S E shows a palette of articulations in which noise even seems to take on patterns.

9/ Karel Appel. 11:40.
Paysage Electronique.
Electronic Landscape.
Instituut voor Sonologie Utrecht 1963.
Institute of Sonology Utrecht 1963.
The Netherlands.
Phillips.

Karel Appel, one of the founders of the avant-garde movement Cobra, logged time in the Instituut Voor Sonologie to compose music for a documentary being made on himself by cinematographer Jan Vrijman. Made in collaboration with the Insituut’s member Frits Weiland, the result is a fantastic mix of electric organ fumblings to full-on riots of distorted kettle drum and assorted percussion-room filigree, assembled into an extremely edit-heavy suite – much use of tape-speed manipulation.

8/ Roland Kuit. 08:00.
Ruimte V.
Space V.
Klank architecturen 1971.
Sonic architectures 1971.
Rietveld Pavilion, Kröller-Müller Museum Otterloo.
The Nethetlands.
Donemus.

Roland Kuit engages in research as a ‘sound architect’ balancing on the interface between research, architecture. According to the principles of the Neo-Plasticism, Roland Kuit had to invent sound. Pure tones as building stones creating spectral blocks. This means stacking energies to build a harmonic content. The spatial modus is setting this weighed points conscientiously in the exhibition space to divide this spectrum and display this in a grid of speakers.