Flowing Forms is a quadraphonic + hexaphonic work consisting of several pieces, composed by Lola Ajima and Ingrid Blasco for live looping of cello, vielle à roue and the software Logelloop, developed at Logelloù by Philippe Ollivier.
The pieces are inspired by movements in nature, like water, air, stones and earth and was sparked by the book “Sensitive Chaos” by Theodor Schwenk.
The beautiful coastline close to Logelloù in Bretagne, with long tides up to several hundreds meters, revealing the stony landscapes under the water was a starting point of the piece as well as the floating, chaotic and yet very graceful movements in water and air that makes up the misty air around the coast.

Titles of pieces:
Apres Têmpete
Brume
Absence
Intervalles Lunaires
Glittering surfaces
Currents

Vielle à roue: Ingrid Blasco
Cello: Lola Ajima
Live graphics: Yukao Nagemi

Initally ordered and supported by Logelloù, Penvenan, during four residency periods in 2023-24.

Concerts about memories of nature, together with Tine Louise Kortermand

Malkepige/Sammenstød

“Malkepige/Sammenstød – working title” is a site-specific concert in the public space that takes place in
dialogue with history in Landbohøjskole’s garden in Frederiksberg, Copenhagen, Denmark.
In his book “The Soundscape: Our sonic environment and the tuning of the World” from 1993 Murray Schafer investigates how music historically reflects the soundscapes that people have surrounded themselves with, and how changes in this have pushed the composers to seek new
sounds and resonances. Among other things, he writes: “Music forms the best permanent record of the past sounds musicians also live in the real world and in various discernible ways the sounds and rhythms of different epochs and cultures have affected their work, both consciously and
unconsciously.”
The work is an investigation of the sound-historical cross-section through time of the clash between country and city.
The work takes inspiration from the bronze statue in the garden, called Malkepige (The Milkmaid).

With a straight back she stands with the milk pails and looks out into the garden, as if for her cows. But there are no cows. The city has grown around her and she is left alone. You can almost hear the echo her cow calls that go unanswered. Or do they?
With four mobile speakers that act as the response of the cows (field recordings), live sung loops of cow calls from scandinavia, the ever-present sounds of cars and bikes whizzing by on the road just outside, rhythmic elements such as the metallic beats of industrialization played on cowbells and the bronze statues in the garden equipped with contact microphones, the works is an answer to the Milkmaid’s spectacle by creating one co-existence of sonic layers between the pre-existing soundscape and the vanished sounds.
The work lasts about 20 minutes.