Innimellom er lyden stille is a vocal installation consisting of one voice in multiple layers. The vocal soundscapes of the work are regarded as auditive spaces to be in and demand alternative phenomenological undertones: it is in the meeting of sound and listening that the formation of meaning occurs. Because each subject brings its unique experience into the listening, it is also a co-creator and the installation is the framework which the listener complements with it’s presence.
A key issue in the work with Innimellom er lyden stille, has been whether the journey the voice makes through the artistic trajectory and back to the public has a potential for the individual’s experience in a shared room.
Line Horneland works with the voice as a bodily and corporeal expression in its own right and not as a linguistic tool. It is explored in a beautiful, subtle and distinctive way, with roots in, amongst other things, free impro, minimalism and experimental music.
Her work is composed as polyphonic vocal textures, based on several layers of improvisations. Rather than composing dramatic events in time, Line Horneland composes situations that unfold in space. The work becomes sound installations that are sensitively adapted to spacial acoustics, architecture and light, as well as the listener’s presence in the room. The sound activates the room, inviting contemplative and embodied listening – present in the room and between the voices.
Line Horneland, based in Norway, (master in Creative Disciplines and Learning Processes in music, from Western Norway University of Applied Sciences), coming from the music field as a vocalist, working with different kinds of material, from jazz to free improvisation and loops, evolving into an artistic practice on vocalscapes for interactive installations, and soundworks.