NOISE PERFOMANCES

What can we learn from the native and pre-objective/non-objective?

short concept:

What can we learn from the native and pre-objective? The knowledge of Amazon tribes, imparted by Yanomami shaman Davi Kopenawa and written with the words of Western Europeans by Bruce Albert, states that the Yanomami culture does not own books and libraries. Their “archive” is the existing Amazon world with all the symbolic meanings. Therefore, the loss of their habitat as the final effect of brutal deforestation and road building can be comparable to the loss of electricity, which maintains the parallel digital system and its vitality in the Western civilization.

The Voyager Golden Records containing an eclectic selection of music, including both Eastern and Western classical and traditional music, as well as other sounds selected to portray the diversity of life and culture on Earth, prove a narcissistic presumption about the existence of Other, capable of decoding the recorded messages. The landing of the space aircraft on the comet 67P/C-G proved that a space object is not mute but produces low-frequency sound waves. That gives scientists new insights on comets and help them learn how a completely unknown structure and substantiality travels through time and space.

The Voyager Golden Records containing an eclectic selection of music, including both Eastern and Western classical and traditional music, as well as other sounds selected to portray the diversity of life and culture on Earth, prove a narcissistic presumption about the existence of Other, capable of decoding the recorded messages. The landing of the space aircraft on the comet 67P/C-G proved that a space object is not mute but produces low-frequency sound waves. That gives scientists new insights on comets and help them learn how a completely unknown structure and substantiality travels through time and space.

A sound interactive project with a working title ” What can we learn from the native and pre-objective?” is an opensource software application including a variety of digital photos which are through temporal periodicity converted into sound patterns. The latter turn into the basic sound material of the sequencer, which transmits the sound image to the listener via internet streaming. Digital photos, the frozen images of archeologic nano territory, where bio-habitat manifests its unyielding nature, transmit the reality into a digital code. The frozen image creates a distance towards its reality and transforms into a digital footprint. This particular kind of tautology serves as the “laboratory” isolation of data and its sonicity. This way an inverse structure of shaman reality is formed, which sounds its nature in a virtual internet structure. Via streaming, it reveals how “insubstantiality” of digital information travels through time and space. As the distribution goes with the flow of the virtual dimension, its uniqueness is never archived. Our commitment to constant opening of our sound imagery and exposing it to a variety of intertwining actions within and beyond the human existence shows how fragile and complex are bonds that exist in relations with plants, animals, geologies, atmospheres, people and data, as well as in various combinations of one another.

L I V E – P E R F O R M A N C E S:

2015, On the “NOISE IS US”, Series of Sound/Intermedia Events at CIRKULACIJA2 – Association for interdisciplinary, independent art production and circulation of contemporary art, October, 22th 2015, Ljubljana, Slovenija

audio record from live performance

2015, Earzoom & Musich_Tech Festival, September, 19th 2015, Cankarjev dom, Ljubljana, Slovenija

the main operation of the designed interface has been capturing spatial data dimension and them properties of the selected geographic location on the map. geographical spatial data were showing the location coordinates, while the information associated with spatial properties actually means the speed of the winds and the sea. location on the map I was selected on the basis of daily reports, where the greatest concentration refugee crossing the sea happened. so these data were influenced at sonic character of a performance.  so I was like this tragic event to give an emotional touch. I am fully aware of the problematic nature of these statements, but I also think it is necessary to talk about it in an artistic way too.

print screen image of the interface designed for performance on EARZOOM & MUSICH_TECH Festival and for CIRKULACIJA2 Series of Sound/Intermedia Events.

software code designed by Matjaž Lenhart inspired by: http://earth.nullschool.net/

still work in progress. it’s a site for puredata sounds and interventions

2017, DEMORSING Sound Landscape, SHARE NYC, Brooklyn, at the Issue Project Room, The (OA) Can Factory, 232 3rd Street, New York, US

some parts of visualisation during the performance

2018, RECITATIVE NOTATION OF AIR SCANNING MORSE PATTERNS AT NJEGOŠ’S AND PREŠEREN’S MONUMENTS IN LJUBLJANA, Galerija 42, Likovni fakultet Cetinje

2020, Sound loop: 13′ 13″ / THE MEANINGLESS BUBBLES, audio streaming as an accompanying event at the Conference IKTVVIS, organized by the University of Ljubljana and University of Maribor

– The sound image 13’13” – The Meaningless Bubbles is made for »unacclimated ears« (the term is taken from the Slovenian Radioshow Godbeni Imperializem by Luka T. Zagoričnik on Radio Študent).

– Alvin Lucier created a dramatical sound performance where he demonstrated how the meaning of speech gradually decomposes and eventually disappears into a carrier frequency of sound – »noise«.

– The whole sonority and the idea of The Meaningless Bubbles is derived from the semantically related statements of two prominent figures: a politician and a scientist. They are not in juxtaposition to form a new meaning and they both declare »that they know nothing about it«. Verbal deconstruction of their statements merges into the sound alluding to »the victim«,i.e. the bat –  the transmitter. The apparent “non-meaning” of their statements may imply new paradigms of the 21st century: Clouds, Bubbles ….

Print Screens from interactive video-animation