KAIKO 邂逅
35’12”
HARUO OKADA, JP
FABIO PERLETTA, IT
DIGITAL RELEASE
CATALOGUE: F90116
RELEASED JUL 20, 2015
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COVER PHOTO: FABIO PERLETTA
KISSA SAKAIKI, TOKYO
A SPECIAL THANKS TO CELER/WILL THOMAS LONG, YUKI AIDA, TOMOTSUGU NAKAMURA, KISSA SAKAIKI.
1. Kaiko 邂逅
Kaiko 邂逅 is the first collaboration between Japanese sound designer Haruo Okada (岡田晴夫) and Italian sound artist Fabio Perletta.
During the magnificent backdrop of Japanese Hanami in spring 2015, when paper lanterns were hung for the purpose of Yozakura and Sakura flowers’ blooming reached their peak, they performed an improvised liveset at the warm and ancient-looking Kissa Sakaiki in Tokyo/Shinjuku on March 31, as part of Perletta’s Japan tour. They performed without any pre-arranged structures, just following their instinct, and later they decided to re-create a composition based on the same material and added new compositional elements in order to make the piece more detailed and balanced.
Kaiko 邂逅, meaning chance meeting, refers to the unexpected success of their performance, and is presented in a single movement of synthetic and real sounds that continuously merge and overlap, creating an ongoing dialogue between raw and processed, digital and analogue, real and artificial spaces, living and non-living things.
Kaiko 邂逅 features some of Haruo Okada’s field recordings collected for his Sound Lab project that he has been running at Pioneer, including the ambient sound of a limestone cave, a walk through a forest, insects, noises surrounding a pier, a bonfire and a Suikinkutsu, a traditional Japanese garden ornament and music device.
Recording Locations (collected by Haruo Okada)
Cave: Bantimurung Bulusaraung National Park in Indonesia
Walk + Bonfire: Afan Forest in the Shinanomachi (Nagano Prefecture, Japan)
Insects: Shirakami Sanchi Mountain (Tohoku Region, Japan)
Pier: Iojima Island (Nagasaki Prefecture, Japan)
Suikinkutsu: Aobayama Park (Sendai, Japan)
HARUO OKADA, JP [ ➔ ]
Haruo Okada (b. 1953) is a sound designer, working at Pioneer Corporation Audio Company. He has many experiences in studios as a recording engineer and since the 1970’s he has recorded sounds for various genre of music, commercials and music production for TV shows and events. In 1990, he started to create sound sources for research and product’s contents. In 1997, he launched the “Creation Project” in which he took part in product planning and proposed some products such as “Pure Malt Speaker” and “System Component Happy Tune”. In 1999, he started up the “Sound Bum” project and collected field recordings worldwide. Since 2008, he has been directing the sound matter and the sound source creation for the web site ”Sound Lab”. In 2009, he created and recorded the high sound quality CD, titled “Dynamik”.
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岡田 晴夫 1953年生まれ、サウンド・デザイナー。パイオニア株式会社・新事業創造室、技術開発本部、コーポレートブランド戦略部を経て、現在OEM企画部・先行企画課に勤務。70年代からレコーディング・エンジニアとしていくつかのスタジオに勤務。その間、様々なジャンルの音楽、ドラマ、CM等の録音、またCD、イベント等の音楽制作に関わる。1990年パイオニア・Q-tecスタジオ勤務を機に、研究用音源、製品用コンテンツの制作を行う。 1997年より新事業創造のプロジェクトに参加。製品企画にも携わり「ピュアモルトスピーカー」、「システムコンポHAPPY TUNE」などを提案。1999年より Sound Bum (サウンドバム) プロジェクトを立ち上げ、世界各国でのフィールドレコーディングも数多く行っている。2008年4月Webサイト「Sound Lab.」アップに伴い音に関するディレクション及び音源制作を担当。2009年4月高音質CD「Dynamik」を制作・録音。 2000年より音によるインターフェースAUI ( Auditory User Interface )のプロジェクトを推進、OEMを含む車載用機器の操作音等の音源制作を継続。
FABIO PERLETTA, IT [ ➔ ]
Fabio Perletta is a sound and installation artist living and working in Italy. In his work he investigates notions such as presence, silence and impermanence, encouraging different levels of experience, engagement and contemplation. Being concerned with matter and immaterial, his research is focused on duality, letting paradoxes coexist. Perletta’s practice reveals an inner discipline which goes beyond the scope of rational coordinates, whilst addressing reality and small things.
His work encompasses recorded compositions, performances, site-specific interventions and installations, appearing worldwide at festivals, art spaces and artistic residencies including A×S Festival (Pasadena, US), Human Resources (Los Angeles, US), VOLUME (Los Angeles, US), EMS Elektronmusikstudion (Stockholm, SE), BlueProject Foundation (Barcelona, ES), Arts Santa Mònica (Barcelona, ES), Museum of Modern Art (Medellín, CO), Musee National des Arts Asiatiques Guimet (Paris, FR), Ftarri (Tokyo, JP), Kid Ailack Art Hall (Tokyo, JP), Ryosokuin Temple (Kyoto, JP), Art Center (Tsukuba, JP), Café OTO (London, UK), O’ Art Space (Milan, IT), Saturnalia Festival (Milan, IT), TOdays Festival (Turin, IT), Eufònic Festival (Ulldecona/Barcelona, ES), E-fest Cultures Numériques (La Marsa, TN), roBOt Festival (Bologna, IT), Acusmatiq Festival (Ancona, IT), Flussi Festival (Avellino, IT), Krake Festival (Berlin, DE), Auditorium Parco della Musica (Rome, IT), AlbumArte Gallery (Rome, IT).
His solo and collaborative recordings are documented on LINE, Dragon’s Eye Recordings, aufabwegen, Monochrome Vision and his own imprint 901 Editions, founded in 2008, which has since released more than 30 close-to-silence, immersive and experimental music editions by internationally renowned artists.
In recent years, Perletta has released albums in collaboration with Asmus Tietchens, Yann Novak, France Jobin, and has performed live with Tetuzi Akiyama, suzueri, Ken Ikeda and xx+xy visuals. He plays as Cygni alongside Pierluigi Scarpantonio and works for the curatorial project Lux, co-curating exhibitions of William Basinski & Jamese Elaine, Thomas Köner, Christina Vantzou, Richard Chartier, and Yann Novak.
MIGUEL ISAZA
Listening interrupts or invites, this time is both, beautifuly presented as both emergence and attraction, as a set of improvisational moments and temporary guidelines; a constant, surprising and unpredictable resonance weaving from a paradox: planned and random, apparently calculated but ultimately subject to the unforeseen. 邂逅 is a room for surprise, for sounds that appear to be but are not, for sometimes vast and shimmering spaces, yet at times as small as a droplet. A mass of micro-macro events fed from a logic that goes beyond logic, using a language that goes beyond language: intuition of empty places that are not empty, sounds that are not sounds. Among a changing tissue of field recordings and an inevitable shelter of tonalities, these two artists lead the listener to a journey that despite of telling a story, ultimately loses any concrete narrative to go to the wonders of the unnameable, where listening is free in its ubiquity.