ANDERS HULTQVIST

We wanted to investigate the historical and sounding landscapes from which the book Tapeshavet originated and made an expedition to some central places on Härnäset in Bohuslän. What were the “conditions” from which the poems had arisen, and what were the soundscapes that, at least partly, formed the basis for the “singing”? We visited the quarry in Ed, shell gravel slopes at Röe homestead, Fågelviken with its gunpowder store, and Näverkärr’s forests. The voices in the Tapeshavet Hörspiel (Hansson & Hultqvist, 2020) approach four different levels of narration: shorter (poetic) excerpts from Tapes havet, documentary in situ comments and conversations, stories in and about special places, and to that some reflections on the research project in general. In terms of sound the material largely consists of ambient (environmental) sounds, micro-sounds (close-ups of natural sounds), performances on natural and created found objects in search of their sounding properties, as well as further processing of environmental and object sounds. 

As Gunnar D Hansson writes in Post-Tapes “A kind of perspective comparativism of large and small. A wavering between the up-close life and the unaccustomed life, between inside and outside, between the taken over and the transferred, between name and thing, non-interpretation and interpretation. [...] And at best a kind of rhythmization of the contexts. 

In the instance of the search for the sounds of ‘Tapeshavet’, the complexity was magnified through participatory sense making, but also by choosing an entity as a catalyst for the interactions, namely a book that stretches in its virtual form across sites and temporality.”