01 HUNTING - Après midi recycling
Halldór Eldjárn

”Hunting” is a soundscape primarly composed for the installation of the project Safari Spectral by designer Thomas Pausz. The piece is an opening at the vinyl, as it deals with the very essence of the practice of archiving, when seen as hunting for objects, images, scents, or ideas. The need to explore chosen environments and forwardly to preserve them, led us to the combination of sounds of the hunter and its prey, talking to each other.

Marina Rees & Sam Rees 

Security at the Keflavik Airport didn't allow us to record image in the space, which led to sampling only the sound of the main hall of the arrivals area, with a pop song playing in the background. The airport is an environment entirely built to human needs and standards, where variety of tourists migrates to and from the country, bringing parts of the outer world into the Island. Alongside with the airport, we visited a place which is built based on values contrary to the human-centered airport — the Icelandic Goat center in Háafell — and we decided to combine these two seemingly disconnected environments. To survive and sustain their caretakers, Icelandic Goats (which originally immigrated from Norway) have to sell parts of themselves, such as milk, meat or wool. We imagined tourists in cashmere sweaters making their way through the airport, exiting Iceland.


While moving around the Island with the use of the most common mode of transportation, a car, we wondered about N1 stations as peculiar, man-made environments. Made for human and its car, these automatized environments are always only a brief stop in a bigger journey, yet having enormous impact on the surroundings. Our wandering thoughts on fuel for cars crossed with a fuel for human bodies. While visiting the Erpsstadir Creamers we were able to spend some time in this fully automatized environment, where robots and animals live in a casual companionship.
With humans only passing by, to collect a certain product and go further, we decided to combine forementioned environments — the Creamery and the N1 station — composing a soundscape of biological interacting with technological, with a human as a guest star.

04 GILDED CAGE - Vaknar
Marteinn Sindri

Thinking about the concept of man-made environment such as Zoo, while visiting the one placed in Reykjavik, we wondered about the human urge to have control. Who and what does a human keep under control and what is that which cannot be controlled? We visited the shores of Ytri Tunga Beach, where humans come to watch seals basking in the sun, and we wondered about gilded cages and differences between living in the vastness of the oceans and squareness of aquariums; about fetishizing certain species and the need to examine, control and stare at the animal.

05 METAMORPHOSIS - Silkworms
Ingibjörg Elsa Turchi

While visiting the garage of Signý Gunnarsdóttir in Grundarfjörður, who breeds and takes care of the exotic silkworms imported from Bulgaria, we wondered about the artificial environments and the possibility of growing anything, anywhere in the world, if good conditions can be provided. Having cheap and easily accessible renewable energy sources, Icelanders are capable to heat up big greenhouses as well as Signý’s little garage. We visited the Nesjavellir Geothermal Power Station to collect sounds of the machines working non stop.

Sveinn Steinar Benediktsson

The soundscape called ”Survival” was created as a response to acknowledging that animals started to seek shelter in the cities, some of them becoming nocturnal, to avoid humans, one of the most dangerouns predators. Following this thought, we visited supermarkets in Reykjavik, which are one of the most crowded places in the capital, composed of different objects and materials coming from all over the world. While being in the supermarket we wondered if other animals could inhabit the place. How would they adapt? Would they mimic the sounds of cash registers? How would they feed themselves, what would be their additions to the architecture? And so we’ve mixed the sounds of Icelandic birds and soundscape recorded in the supermarket, and put them in conversation.
The piece was playing during Counter_point exhibition at the Design March in Reykjavik 2019.

Páll Ivan frá Eiðum

On our trip to archive the melting glaciers near Vik, we came across of the rubbish dump just right next to the black beach, filled with humans looking at the sun disappearing by the horizon, while having the dump behind their backs. Right after archiving this environment filled with different objects, commonly being called ”waste”, we visited the nearby cemeteries. When reflecting on how humans are burying different bodies and what values they associates to them, we juxtaposed these two burial sites and put them side by side.

08 THE DAILY FACTORY - 3,5 million people
Guðrún Heiður Isaksdóttir

We met four humans inside of the giant printing house of the most popular newspaper in Iceland. This fully automatized environment is mainly composed of limbs of different machines, splashed inks, blank papers and the ones with symbols on them, ready to be delivered to your doorstep. We wondered about the role of a human in this automated environment, providing information on the current state of the world in an already outdated form of a newspaper, which seems to be a secondary source in the times when internet is accessible to most of people. To trace the making of a newspaper we followed it to its roots, the material source of the subject, and we visited the biggest forest in Iceland. Spending time between the trees we combined the wind blowing through the branches and the breathing of the factory’s machinery.

09 DEN
Vamos Vamos

When revisiting the turf houses scattered around the Island we wondered about how fast humans adapted their surroundings to the human point of view. Starting from living among the sheep for the sake of keeping themselves warm at night, and ending up at the penthouse with the panoramic view from the window. Scaling vast areas of the land to fit to their measure and collecting resources, processing them accordingly to what is needed. In the piece called the ”Den” we wondered about what does one leave outside of their house and what would one like to keep inside? Who will become domesticated and what will it mean to be wild?

Guðmundur Steinn Gunnarsson

Going through the vast landscape of lava fields, the smoke coming out of the ground catches your eye…
The egg-smell from the kitchen sink tap brings up the word ”home” and the feeling of an evening bath.
You smell the stuffiness and the sweat on your skin from when you entered the tropical greenhouse in the middle of the fields covered with the brightest snow.
The sound of the heaters filling up with hot water once you turn them on makes you warm already.
The constant threat of volcanic eruption doesn’t affect your everyday life, it gets lost in the subconscious.
Following your own connotations imagine the sound of the "Continental Crust", which is an archive of the places connected to the power stations in Iceland.

11 SANCTUARY - The Real
Garðar Eyjólfsson

When traveling all over Iceland we came across a certain type of a human commonly called the ”tourist”. We observed its behavior in relation to the Icelandic landscapes and easily compared it with the behavior of a believer: standing in line to go up the waterfall one by one, experiencing metaphysical exultation when admiring the surroundings; having a strict codex to be followed and paths to be walked on; looking for something more to the routine of everyday life. In the piece called ”Sanctuary” we juxtaposed these two types of a human and played with the idea of the tourist as a pilgrim.