Votivkirche Blu-ray Disc

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Drone/noise sonic architectures of both inner and outer spaces/ambiences – a space born in sound and a sound born in space.

Architecture = sound / Sound = architecture.
Visual & Aural contingencies w/ designed strategies of hyper-real sound-space & space-sound.

Cadlag A/V installation within a space, as a live project par excellence, with each, one-of-a-kind sound incision and space interaction, brings forth the hyperreality of parallel space & sound to what is known and perceived as objective reality. Newly experienced set of reality being moulded and forced by the induction of sound treatment within a certain space/ambience/architectural object-space. Sound treatment exhibited and worked within and upon the space, conjoines with inner space of the listener/perceiver, unfolds the parallel worlds of space and sound, traversing the parameters of ‘objective reality’, but not transcending and overcoming it, into a new, more important and more real reality, but giving it, in a re-turn, a new perspective within the same perceived visu-aural frame/perception of the given moment – a strange and interwoven abstraction of the given fixed form of architectural concreteness embedded with the ongoing & ‘fleeting’ time-conduced waves of sound inter-penetration. Presence of the space creates and enforces visual ‘greatness’, it engulfs and becomes a presence with grandeur, with a distinctive opening of the »inner space«, the perception of the space encapsulates the contained – the magnificence of the container enchants and at the same time paralyses the perceptor. The architectural building with its structural parameters forms the object-space which does not coincide with the sound treatment, though they act together, as a inter-dependent medium, as a particular space, adding to it, its ‘spatial’ shape, a specific grind to the sound movement, of its resonance and workings along the structure-lines of the walls and corridors of a cathedral or a particularly given object-space. The visual is not extrapolated into the auditory, neither the auditory tries to encompass, or get nearer to its grandiose visual structure of the building that usually produces awe, and thus renders it malueable and sublime to the listener, (along the lines of somewhat perfect transcription or a copy of a space, as somekind of a (sound) reproduction, or a simplistic reflection of an architectural object), as a kind of approximation to the visual grandiosity, as if reaching the perfect resemblance to the seen, to its ideological structure and power. Both are dislocated and work separately, yet, when interwoven within and into the cohabited ‘space’, both aural and visual re-pro(in)duce the ever-changing abstractness of newly-mapped shifting reality, elusive to the perceptor, to its perceiving mental framework, of each subject that is involved in the process of ‘common reality’ refurbishment. Perceptual soundscape within a space becomes a new bodyset of embodied experience of each perceptor, thus creates a virtual and imaginative inner matrix of ‘outer perception’, of »what comes in« and »what comes out« and returns and folds back, along the topological lines of the perceptor’s cognitive and mental framework. Sonic material induced and produced within a space, works as an acousmatic element, starting from a »zero point« of the first note, a strike of the sound-wave particle, moving to successive movements of re-constructed and re-morphed clusters of aural arrays & matrices, into an ever-shifting-self-folded expressions/procedures, detaching themselves from their ‘starting point’, the initial element of their triggering, where the notions of space, form and structure (both visually and auditory induced ‘space’) move into the direction of dissolution/dispersion/refraction, between the aesthetic elements, formed along the echoing structures of sound-space and space-sound body. Dis-proportion between the visual and aural forms of space and sound objects, creates a gap, along the disassociative axis of the perceptor’s cognizance, creates a movement of sound and its respective silence, as similar to the movement of the light within a space, between its luminous and shadowy silhoutte forms, it re-attaches the abstract counterparts and contra-parallels between the fibres of given sonority and spatiality – it becomes a sonic phenomena of its own-resonating-architecture within the architecture of an object-space.

Sound and time ‘enclosed’ in a space, time and space ‘enclosed’ in a sound.

Released February 11, 2018

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