The Music of Bodies, the Dance of Sound
Kristiina Malm-Olesk, Music Culture of Estonian Academy of Music and Theatre
The Estonian Academy of Music and Theatre (EAMT) audio, visual, and music technology festival COMMUTE#7 will take place from May 8 to 16 and carries the subtitle “Well-being”, focusing on mental health. As part of the festival, on May 10 at 7 PM, “Superpositions of Infinite Spaces”, an audiovisual dance performance by Kenneth Flak, a graduating student of audiovisual composition at the Estonian Academy of Music and Theatre, and co-author Külli Roosna, will premiere at the EMTA Black Box. In the interview, Flak shares insights into the inspiration, creative process, and themes of the work, highlighting the interplay between movement, sound, visuals, and the infinite inner landscapes of the human experience.
What does the title “Superpositions of Infinite Spaces” mean? Does it refer to quantum physics or rather to a poetic state?
A little bit of both, but mostly it is a poetic image of the internal state of human beings and the infinite spaces within us. I’m fascinated by the idea that each person is a different infinite space, and I wonder what happens when these spaces layer upon one another. Additionally, there is sound and visuals, where each state of being represents an infinite space of its own. The concept itself is borrowed from quantum physics, but it’s more about the power and potential of the idea rather than an exact representation of quantum physics.
Where did the idea to create this piece come from? What was it inspired by?
It has mainly grown out of the work that Külli Roosna and I have been doing for several years. We start with the body, and what is possible to do with it. We use interactive sound, light and video to expand the body. This process has already lasted for 12 years, with different interpretations along the way. Each piece brings something new.
How and why did you choose this performance ensemble? Why did you decide to involve instrumental musicians?
When using interactive technology, you’re essentially composing your own soundtrack through movement. There’s an ongoing dialogue between the dance and the music. The dancer becomes a musician, the musician becomes a dancer.
The cello and piano were chosen for their sound and expressive possibilities. The cello offers a wide and fantastic range: from deep, full-body resonance to delicate, high-pitched whispers. It’s the sound itself that mattered most. There’s a lot to explore with the piano, both inside and out; it’s an incredibly rich instrument. They complement each other well as a duo.
What kind of movement will we see on stage and what kind of music will we hear?
The movement is rooted in improvisation, but there are also rhythmic and Latin-inspired elements woven into the choreography.
The soundscape blends various forms of electronic music – often algorithmically driven, using tools like SuperCollider and Reaper. Much of the music is coded, allowing for a real-time dialogue between the musicians and the performance. There’s a continuous interplay between acoustic and electroacoustic sound, creating a rich and layered texture.
The musicians work with a mix of guided improvisation and freely interpreted notation. The score is not always traditional, sometimes it’s visual or poetic, giving the performers space to explore sound intuitively while staying connected to the core structure.
What part does video play in the piece?
We are exploring ways to meaningfully integrate video into the performance. It’s easy for video to become just wallpaper – something that’s there but doesn’t add value. In this case, the video contains notational cues that the musicians can interpret and play from – but in a more poetic sense, rather than traditional notation.
How is the piece connected to the theme of the festival (mental health)?
One image that sparked the process was standing on a mountaintop, watching clouds roll in and then suddenly feeling like the world is rushing past you while you stay still. What happens when the solid ground starts to shift, and you’re thrown into the unknown? How do you stay okay when you’re losing yourself?
What kind of impact do you hope the piece will have on the audience?
The piece has the potential to create a strong kinaesthetic resonance while watching. Everyone is likely to experience it differently. For example, when I watch dance, I tend to focus on the movement. I’m not searching for a narrative, I’m following the flow of possible meaning. Some people might start looking for a storyline, but for me, the focus is on the kinaesthetic experience. It’s meditative, allowing something to come and resonate with you, without the need to label or define everything.
