Dadoc was modeled after pre-digital era archiving systems, which used cabinets to store data. All information you need, can be found there.
Dadoc presented a glimpse into a world of information, in which data from various sources constitute a new whole. What lies resting in these cabinets, however, was sound. Melodiously spoken snatches of sentences and lines of thought, accentuated by electronically produced rhythm patterns, were the basic components of electro-acoustic composition. By opening the doors of different cabinets the audience isolated and filtered distinct sound layers from the sonic complex that lie enclosed in the installation. Each visitor discovered new significance and associations that the Dadoc cabinets reveal in correlation. These cabinets didn’t store data or objects, they provided storage for sound and music.
The installation, conceived by the Swiss designer Christian Grässli and the Dutch composers and sound artists Jeroen Strijbos and Rob van Rijswijk, consisted of ten wooden cabinets that are placed in a darkened room. Each individual Dadoc contained a loudspeaker. When a visitor opens a door, sounds emerged and the carefully designed loudspeaker became visible in the light shining inside the cabinet.
Dadoc can work as an autonomous platform and stage for different electro-acoustic compositions. One of the main themes in the works of Strijbos and Van Rijswijk is the research into ways of composing musical processes that the audience can give a new coherence and shape. Many of their compositions are not fixed, but dynamic and changeable. Like other installations, they have made, Dadoc blended organically with the architecture of the space where it was placed.
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