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Ole Jørgensen
Saturday the 7th of may at 20:00 at Granhøj Dans
External link: www.selectricity.dk
Ole Jørgensen
Composer (DK), 1974
How would you characterize art’s potential?
I divide art into two primary categories; aesthetic and commenting. The categories overlap and depend on individual preferences. The categories come into play as the object is used for a specific purpose. It is thus not inherent to the art-object which category it belongs to. This is determined by the user’s purpose and intentions with the object.

The aesthetic art has the primary goal of materialising the user’s understanding of themselves by contributing recognizable and identity-forming symbols. It can be a song that you like, your mp3 player, your jacket, your house, your car etc. Objects which have all been through a design process and which therefore contain an element of conscious forming and expression while at the same time being items of utility. 
Art has the possibility of lifting the everyday out of reality and up onto a meta level where the individual work can comment on and relate to its own age and origin. The commenting works are found within all genres, but in contrast to aesthetic art, it is only a few of these works that are mass produced to the same degree.

Which possibilities, qualities and limitations do you find in sound as material?
Sound is a fantastic material. People are communicating beings, we read intentions into all that we come across. Our primary interpersonal form of communication is based on sound;  we talk. Precisely because we are strong auditive decoders, we react strongly to music. We feel that music speaks to us, because music uses the same means as verbal communication. At the same time sound can express the unspeakable, call forth precisely the atmosphere that the word destroys through its precision, or lack of it.

What characterizes a successful work?
That it awakes something in the receiver. A reflection, a state, an inspiration or simple astonishment.

What moves you?
The large within the small. The complex within the simple combined with timing. The perfect moment, which is perfect precisely because it cannot be held. 

Tom Kok