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Jacob Kirkegaard live at Borderline Festival 10, Athens, Greece, June 2021.
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Ensemble Funktion playing Jacob Kirkegaard's Labyrinthitis, in canon with 16 speakers in the spiral staircase of Cosmo Caixa, Barcelona, Spain. |
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Jacob Kirkegaard performing Opus Mors live at Simultan Festival, Timisoara, Romania, 2019 (Photo by Petru Cojocaru) |
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Jacob Kirkegaard performing Opus Crematio live at G((o))ng Tomorrow Festival, as part of TOPOS showcase evening, Copenhagen, Denmark, 2019 Photo by Malthe Ivarsson ©, 2019 Jacob Kirkegaard performing Opus Crematio live at G((o))ng Tomorrow Festival, as part of TOPOS showcase evening, Copenhagen, Denmark, 2019 Photo by Malthe Ivarsson ©, 2019 Jacob Kirkegaard performing Opus Crematio live at G((o))ng Tomorrow Festival, as part of TOPOS showcase evening, Copenhagen, Denmark, 2019 Photo by Malthe Ivarsson ©, 2019 Jacob Kirkegaard performing Opus Crematio live at G((o))ng Tomorrow Festival, as part of TOPOS showcase evening, Copenhagen, Denmark, 2019 Photo by Malthe Ivarsson ©, 2019 |
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Sound recordings of melting ice for Dries van Noten Summer 2017 Women's Collection fashion show in Paris, September 28th, 2016 |
For the opening of GIBCA Suzanne Farrin and Kirkegaard will premiere their composition, Ondes Corti! The ondes was first imagined at the top of the Eiffel Tower by Maurice Martenot, an engineering student and amateur cellist who was drafted during the First World War to work on radio transmissions. Depressed over the destruction, he had a vision that these tools could be transformed from destructive to beautiful. He dreamed of creating an instrument that could communicate directly with an audience with no impediment other than "the imagination of the performer." He eventually believed that the performer would be able to "think" an interpretation and the audience could receive the music telepathically. The result is an instrument that is an expressive, other-worldy machine and also the most technically advanced musical instrument of its time (the 1920s). These expressive tones also exist within the ear itself and appear remarkably similar timbrally to sine waves. This musical fingerprint is the result of spontaneous otoacoustic emissions (SOAE)s, which are sounds that are generated in the Organ of Corti without external stimulation. They are perceptible, though often go unnoticed, and can be recorded with sensitive microphones. Like human sound signatures, they are a window to the immense diversity and richness of the human identity. Ondes Corti will explore these inner and other worlds: what we create and what we are capable of receiving. These pieces will unearth the tones hidden in nearly every individual's ears and create musical poetry that exposes and embraces the sounds that connect us.
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Else Marie Pade & Jacob Kirkegaard playing Svævninger live at Radiohuset, Denmark, 2013 |
Labyrinthitis live at Eyebeam, New York, USA, August 2013
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Before Church II from Conversion (Touch), live at Vor Frue Kirke, Aarhus, Denmark, 2013 |
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Labyrinthitis live at Museum of Jurassic Technology, Los Angeles, USA, Sep 2008,
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Jacob Kirkegaard - Labyirinthitis live at Issue Project Room, New York, 2008
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Live in Lisboa, Portugal, 2006
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Labyrinthitis live at Museum of Freud's Dreams, St. Petersburg, Russia, 2006
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Aeter, live, Denmark and Sweden, 2001
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Jacob Kirkegaard live at Moers Jazz Festival alongside Gry Bagøien, Andres Bosshard, David Shea, Fran Schulte, 2001
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Aeter, live at LAB, Copenhagen, 2000
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Aeter, live, Berlin, 1997
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Aeter, live, Copenhagen, 1996
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Grindcore at Piratfisken, Esbjerg, Denmark, 1991 |
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In Denmark punk wasn't dead, yet, in 1989
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copyright © jacob kirkegaard |