What is the sound of a vanishing coin? What tone has a floating glass? How is the complaint of a ball transforming to milk? -and is it softer than the complaint of a transformation to water?
Pigeon Superstition is an interdisciplinary exploration of magic in relation to sound and movement. The work is a development project with B.F. Skinner’s article ‘Superstition’ in the pigeon (1947) as artistic point of departure; a scientific thesis on the formation of superstition in pigeons. With inspiration from the article a magician and a sound artist execute a theatrical exploration of magic in relation to movement and sound.
How does the experience alter, when one cannot only see but also hear visual illusions? Possible answers are investigated with the use of technogies and new media. Using tools such as camera tracking, accelerometers, contact microphones, and electric conduction to create or amplify the sound of movement and proximity, they investigate how visual impressions quite directly can be translated into an auditory expression. Allowing the creation of not only optical, but also auditive, illusions. Generated in real time in front of an audience in a shared space.
In the initial work period, the above investigation was combined with field studies and recordings of pigeons, their movement and their sounds; incorporating these in the expression and output.
Pigeon Superstition is a play with the perception, and how the ears and eyes can play tricks on the mind.
David Tholander – magician – is graduated from l’École Internationale du Théâtre Jacques Lecoq, Paris, where he studied physical theatre. During his 18 years as a magician David has explored prestidigitation and magic from a variety of perspectives – in practice, theory and expression. E.g. from a psychological point as the co-creator of the concept Trylologi and from a theatrical point as a member of the French based theatre company Collectif Krumple. Always curious about how magic relates to other genres and areas outside itself, as well as the alternating forms in which magic can be executed and the feeling of magic can be experienced.
Christian Skjødt – sound artist and composer – explores the temporal and spatial aspects, as well the physicality of sound and aesthetics of noise. Christian’s installatory works are often site-specific and deal with enhancement of the unheard and hidden. With a frequent use of repetition and seriality he creates immersive and responsive environments exploring translations of chosen physical phenomena into sound. In a live performance setting he currently employs self-built electronic and electro-acoustic instruments with nonlinear capabilities and/or amplified object-based performance, where he investigates the sonic possibilities of various materials.
Realized with support from the Danish Arts Foundation
Images from the development work