Kønskrigerne 1-7 (2022-2023)
As a subseries of Cybernauterne’s podcast Cybernormer, Kønskrigerne [The gender warriors] critically investigates a specific branch of feminism, that excludes transgender people – Previously known as TERFs (Trans-exclusionary radical feminists) and today as Gender critical feminists. Through 7 episodes, the series will be a platform for those whose lives, rights and security are up for debate, namely those who are transgender. The series introduces debate on 70s history, sports, terf rhetoric, children, primary school biology, digital meeting places and the idea that women can be “erased” – and much more, which is super hard, but also super important, to listen to. Therefore also a content warning: The series touches on transphobia, misogyny, homophobia and racism and examples from transphobic comments from digital forums will be read out via voiceactors.
Manosfæren 3 (2021) – Episode 3: Mere end incels
As a subseries of Cybernauterne’s podcast Cybernormer, Manosfæren introduces the digital space ‘the manosphere’, wherein groups of men meet and discuss gender, masculinity and equality, based on a critique of feminism and modern gender equality politics. In the third episode of Manosfæren, Maia Kahlke Lorentzen interviews professer Debbie Ging from Dublin City University, who has researched the manosphere and antifeminist movements for 20 years. In this episode, listeners are introduced to pickup artists, incels, MGTOWs and NoFappers – What brings them together and where do they disagree?
Kongen kommer! (2020)
Located at the Jelling Viking Test Center in Kongens Hal, Kongen Kommer! [The King is coming!] is a mixture of projection mapping and spatial, multichannel sound design. I composed and designed both the sound design, original score and the audio setup. The auditory composition consists of a spatial soundscape, where visitors can hear the ambiance of a busy viking house [langhus], an audio drama, wherein different characters are preparing for Harald Blåtands arrival and a musical score, that underlines the dramatic narrative and the increasing stress and chaos of the room. Created in collaboration with visual designer Sofie Kjær Schmidt, playwright Anna Skov and dramaturge Daniella Ottendal Skovgaard.
The score consists of a slightly detuned guitar (played by me), dampened, repetitive drums (played by Christian Qvortrup, Tongues) and stretched and manipulated recordings of hurdy gurdy. I worked with detuning and dampened sound to get a mundane and folk-inspired sound, to both represent the people in the narrative and to minimize the effect of the melodic material, which is highly unusual for viking-themed music – The goal was to create a more modern feel, where the score could both support the dramatic and tense mood of the room, but also work as a musical representative for the cultural and historical questions at play in the exhibition. Likewise, Harald Blåtand has his own melodic signature and the two motifs play against each other as the composition slowly builds up and peaks as Harald Blåtand arrives at the exit.
In 8 speakers spread across 3 rooms, listeners was also able to “meet” different characters, hear their personal stories and political opinions towards Harald Blåtand and listen to the sounds they make. I created a generative sound universe, where fx animals and hardworking people were able to walk around in the room digitally and be heard at different locations. I did this to create a sense of a very busy and stressful atmosphere, to demonstrate how much the people was behind in their preparation for the kings arrival.
Jelling Orm (2020)
Located at the Jelling Viking Test Center, Jelling Orm invites younger visitors and children to a sensory experience, where exercises with audio, smell and vision situates a viking journey from Vejle to Constantinople on the viking ship Jelling Orm. Here the visitors gets to experience how the vikings developed new understandings of other contries, people and goods. The auditory composition consists of a soundscape, that changes with the narrative location of the experience design, where the visitors are invited to load goods in the ship, row with oars and hear about stars, while an ambient composition scores the narrative.
The goal was to create some music, that was both big and dark, to represent the eternal and spacious universe, but also to focus on how stars would sound, as they appeared on a dark sky – Some of them erupt as shooting starts, while others show them selves as little tiny dots.
En god historie (2019)
En god historie is a musical sound composition made exclusively of recorded and manipulated on-site sound from Clemens Antikvariat in Aarhus. This includes dusty metal lamps, bookends, desktop computer noises, a doorbell and street noises from the neighborhoods main street Tordenskjoldsgade. It is a remix of the prose poem Clemens Antikvariat (2017) by poet Carsten René Nielsen, originally written for 365tekster to Atlas over Aarhus.