Video by Mik Stampe Fogh & Jonas Fogh



A collaboration between the sound collective We like We and sound artist Jacob Kirkegaard, Time is Local is a 12-hour multichannel performance and live installation, in which the interplay and synergies between space, time and resonance are explored.
G((o))ng Tomorrow Festival on the 4th of November 2017.  

Time is Local is a study of sound in time and space - a tribute to the individual perception of the moment of now. 
The twelve hour long piece is composed for and at Thorvaldsens Museum in Copenhagen and will premiere during G((o))ng Tomorrow

We like We and Jacob Kirkegaard selected twelve different chambers within the ground floor of the museum. The ambient sound of each chamber was recorded and then played back into chambers while being recorded at the same time again. Layering each chamber's own ambient sound multiple times slowly evoked and revealed their unique handful of tones. These 'chamber chords' were then interpreted for instruments.  Time is Local is a performance and installation consisting of live instrumental interpretations of the resonant frequencies of the museum as well as the resonance recordings of each chamber which are played through a multichannel system of 12 speakers. The speakers are placed in the twelve selected chambers among its twenty four ground floor chambers. 
During the 12 hours live performance, the audience will move around freely through the Museum, and be invited to experience each chamber’s idiosyncratic spatiality and sound. Each new chamber becomes a one–hour–ritual to witness: from a white noise salvation through variations over the actual evocation to pre–composed or improvised live music. By acquiring the myths behind the marble statues depicted by Thorvaldsen located in these specific chambers, a dialogue is initiated between location and composition, in which the evocations serve as the base of the compositions.

“We aim to understand the resonance of the location – the sound of the Museum, so to speak – to allow the move from each chamber’s evoked, idiosyncratic sound to an overall compositional interpretation. To create the piece from the acoustics present, pre-recorded material and live music. Using the evocations as the foundation for the composition, the chance to work and interact with the location during the process has enabled the quintet to scrutinize the dogmas of the work. Effectively experimenting with the initiated ideas of sound in time and space regarding transfers, position, coincidence, and movement, the performance is an invitation to enter an organic, multidimensional, yet personal investigation of the sound of the Museum."