MESMERISM IV
LGHTLP | SLNT SND TRNS R INTR ACTN
LIGHTLOOP | SILENT SOUND TRANS RE INTER ACTION
Introduction:
'Created by visual artists Iain Forsyth and Jane Pollard, Silent Sound is part classical concert and part public séance. It draws on the powerful psychological set-up of 19th century Spiritualist public performances and is inspired in part by Victorian entertainers The Davenport Brothers, who were famed for attempting to contact the souls of the dead using their ‘spirit cabinet’. To make this remarkable project the artists joined forces with acclaimed musician Jason Pierce (Spiritualized), who composed a new orchestral score, leading parapsychologist Dr Ciarán O’Keeffe (TV’s Most Haunted) and Infrasound specialist Steve Parsons. Silent Sound is an unmissable event creating an atmosphere of suggestion and uncertainty and has been specially adapted for Middlesbrough Town Hall, a building with its own haunted history.'
AV FESTIVAL
After this short introduction I decided that I want to take part in the concert as one of the silent sounds. Because noone of participants could have been aware of my existence prior to the happening and I wasn't physically present, I was in the 'dead state' although still I had/have the soul that allowed me to communicate.
I wanted to try to transcend the available media.
I set up a small home studio and decided to record the concert and my sound performance (not directly heard to the audience, silent sound). It was more of an attempt to document the sound states and contexts in which my energy was sent into and the emerging interaction. I wanted to observe the changes.
This conceptual training was intended to entertain. It was an attempt to move forwards the limits of conceptual art (postconceptualart). An attempt to give an answer to the question where are the limits of creativity, who is the author/creator. Has creation become only a declaration? Don't we all recreate and recreate again and again? What factors have to be present to allow for a creation? Is it an act of will? Is there the art in inaction?
The remianing artefact is a tape with recorded silent sound in context of the concert. This sound is truly silent for the people who participated in the concert. Although it was beyond the limits of their imagination, now it can be achieved through imagination (imagination transcendents the limits of imagination).
Thanks to Resonance FM, AV Festival, Iain Forsyth, Jane Pollard, Ciarán O’Keeffe, Steve Parsons.
Introduction:
'Created by visual artists Iain Forsyth and Jane Pollard, Silent Sound is part classical concert and part public séance. It draws on the powerful psychological set-up of 19th century Spiritualist public performances and is inspired in part by Victorian entertainers The Davenport Brothers, who were famed for attempting to contact the souls of the dead using their ‘spirit cabinet’. To make this remarkable project the artists joined forces with acclaimed musician Jason Pierce (Spiritualized), who composed a new orchestral score, leading parapsychologist Dr Ciarán O’Keeffe (TV’s Most Haunted) and Infrasound specialist Steve Parsons. Silent Sound is an unmissable event creating an atmosphere of suggestion and uncertainty and has been specially adapted for Middlesbrough Town Hall, a building with its own haunted history.'
AV FESTIVAL
After this short introduction I decided that I want to take part in the concert as one of the silent sounds. Because noone of participants could have been aware of my existence prior to the happening and I wasn't physically present, I was in the 'dead state' although still I had/have the soul that allowed me to communicate.
I wanted to try to transcend the available media.
I set up a small home studio and decided to record the concert and my sound performance (not directly heard to the audience, silent sound). It was more of an attempt to document the sound states and contexts in which my energy was sent into and the emerging interaction. I wanted to observe the changes.
This conceptual training was intended to entertain. It was an attempt to move forwards the limits of conceptual art (postconceptualart). An attempt to give an answer to the question where are the limits of creativity, who is the author/creator. Has creation become only a declaration? Don't we all recreate and recreate again and again? What factors have to be present to allow for a creation? Is it an act of will? Is there the art in inaction?
The remianing artefact is a tape with recorded silent sound in context of the concert. This sound is truly silent for the people who participated in the concert. Although it was beyond the limits of their imagination, now it can be achieved through imagination (imagination transcendents the limits of imagination).
Thanks to Resonance FM, AV Festival, Iain Forsyth, Jane Pollard, Ciarán O’Keeffe, Steve Parsons.
TH SH NT CRV FR N THN +
10th Commandment on tour
This morning was quite interesting. After waking up, all of a sudden, I found myself in a situation that you would think I couldn't have predicted. It had been snowing outside.
I write that you would possibly think that I couldn't have predicted it because I somehow expected a sudden change in the system. Here is how I think about what's happened:
Thoughts and beliefs of groups of people can form patterns stable in their activity. This interconectivity creates a structure or closed system which can adapt to certain degree. All this artificial inteligence babble is only intended to visualize the possibilty of measurment of such systems. And here is a place where thermodynamics ntrs.
If you think of this closed thoughts' system again, you will find out that it changes only during the emergence of new ideas. As in dynamics we are only aware of end)memory(beginning states.
If the idea is useful/efficient/productive it needs less energy to sustain the system in the new state. So that the energy that used to get absorbed by wishful thinking present in the system (such as 'his bicycle is going to be stolen, because Bytom is unsafe city' to be more specific and relate to a real example) could be used elsewhere. Hence the loss of energy in the space where I left the object of my experiment and proof of change in the space. The bicycle was waiting for me although the temperature had changed.
Very interesting part of my happening was mental wrestling that I was doing with myself since I had left the object alone. All this was immersed in constantly changing emotional context (depending on with whom I was and what sort of information about the project did I share).
On my way back to the bicycle I remained cool and calm. I was observing some internal tensions and influence of the mix of external expectations that some of the people with whom I shared the knowledge about the 'lonely bike' have suggested to me. Most common expectation was that the bicycle would be stolen.
Luckily (?) I found the bicycle safe and sound. The space is safe. But not because of itself. For me it's the proof that the material culture of people who came into interaction with the object has the property of respect for personal belongings.
I felt very happy when I got on the bike and went to work.
10th Commandment on tour II
10th Commandment in Kronika
AutoCenso+++ited (2010:05:29)
4th and 6th Commandments in Kronika
AutoCenso+++ited (2010:05:29)
TH SH NT CRV FR N THNK
After noticing the possibility of renting a bicycle from Kronika, I decided that I am going to commute this way to and from work. I have to add here that I quite often finish after nine p.m., so a design situation emerged: 'Where to leave a bicycle for a night'.
(I live in Mikołów and everyday I travel from Mikołów to Katowice and from Katowice to Bytom, where I have to catch a bus to my workplace. I wanted to change the last stage of my journey.)
At the moment there are a few places in Bytom where you could legally leave your bike. After asking policemen about the places in the city center where I could do that I was told that there are "bike stops" near all the shop centers because there is the rule that guarantees access to those facilities for the cyclists.
I decided to make a happening, which I titled:
THOU SHALL NOT CRAVE FOR ANY THINK
In catholic church 10th Commandment states 'Nie pożądaj żadnej rzeczy bliźniego swego' what in direct translation means 'You shall not crave for any thing'.
I decided that I am going to leave a bike that I rent from Kronika (with nice MADE IN BYTOM overprint, Kronika's logo and number 10) near the supermarket, fastened to one of those "bike stops", in a space unknown to me before, for a night.
Many people find Bytom as 'materially unsafe place'.
I want to find out how free of possessiveness Bytom's citizens are. What is the material culture of the city?
At the same time it is a great challenge for me myslef. How to overcome the fear of losing the material object (if now I am afraid of loss of a bike would I be afraid to leave a car in an unknown place for a night?).
I want to observe the relations between owner/user and the tool in context of fear of loss.
I already have some strategies what would I do if I lost the bike:
1. cry
2. nothing
3. re-pay to the gallery (however the bike has become a work of art now...)
4. place an advertisment in a newspaper that the bike had been lost and honest finder was asked to return it to gallery (as I wrote before it is quite characteristic bike...)
Tomorrow I am going to make a photo of the bicycle and the space (which now is going to be known and defined for me through it's interaction with this object).
All this is happening without the original owners of the bike knowing about it (the information that I would have to re-pay for a loss of bike, should it ocurr, had been conveyed to me).
(I live in Mikołów and everyday I travel from Mikołów to Katowice and from Katowice to Bytom, where I have to catch a bus to my workplace. I wanted to change the last stage of my journey.)
At the moment there are a few places in Bytom where you could legally leave your bike. After asking policemen about the places in the city center where I could do that I was told that there are "bike stops" near all the shop centers because there is the rule that guarantees access to those facilities for the cyclists.
I decided to make a happening, which I titled:
THOU SHALL NOT CRAVE FOR ANY THINK
In catholic church 10th Commandment states 'Nie pożądaj żadnej rzeczy bliźniego swego' what in direct translation means 'You shall not crave for any thing'.
I decided that I am going to leave a bike that I rent from Kronika (with nice MADE IN BYTOM overprint, Kronika's logo and number 10) near the supermarket, fastened to one of those "bike stops", in a space unknown to me before, for a night.
Many people find Bytom as 'materially unsafe place'.
I want to find out how free of possessiveness Bytom's citizens are. What is the material culture of the city?
At the same time it is a great challenge for me myslef. How to overcome the fear of losing the material object (if now I am afraid of loss of a bike would I be afraid to leave a car in an unknown place for a night?).
I want to observe the relations between owner/user and the tool in context of fear of loss.
I already have some strategies what would I do if I lost the bike:
1. cry
2. nothing
3. re-pay to the gallery (however the bike has become a work of art now...)
4. place an advertisment in a newspaper that the bike had been lost and honest finder was asked to return it to gallery (as I wrote before it is quite characteristic bike...)
Tomorrow I am going to make a photo of the bicycle and the space (which now is going to be known and defined for me through it's interaction with this object).
All this is happening without the original owners of the bike knowing about it (the information that I would have to re-pay for a loss of bike, should it ocurr, had been conveyed to me).
CL T]R[P
I've been participating in sound project set up by m.in. Marcin Dymiter, curated by Agata Tecl and run under conspices of Kronika art gallery.
Here is a short description of my intended input
coal t]r[ip
This recording was discovered on the way to coal tip situated in the triangle between Elektrociepłownia Szombierki, Koksownia Jadwiga, Elektrociepłownia Miechowice.
You can try to here an interplay between nature and reminiscences of human presence and activities.
Old abandoned narrow gauge railway bridge stemming from the terrain pierced by the heating tubes and the stream emanating from underneath the coal tip.
There is this nteraction between the water humming under the bridge, the hiss of gas leaking from the tubes and architectonical silence of the bridge itself.
Nagranie odkryto po drodze na hałdę znajdującą się w trójkącie wyznaczonym przez Elektrociepłownię Szombierki, Koksownię Jadwiga, Elektrociepłownię Miechowice.
Możemy tutaj usłyszeć współgranie natury i śladów ludzkiej obecności i działalności.
Stary, opuszczony most kolejki wąskotorowej wyrastający z terenu przeszytego rurami ciepłowniczymi i strumień emanujący spod hałdy.
Występuje tu ta nterakcja pomiędzy nuceniem wody przemykającej pod mostem, sykiem gazu wyciekającego z rur i architektoniczną ciszą samoistności mostu.
I would like to concentrate on one part of my explanation. The moment "here".
For me this somehow totally defines the idea of field recording.
Here is a short description of my intended input
coal t]r[ip
This recording was discovered on the way to coal tip situated in the triangle between Elektrociepłownia Szombierki, Koksownia Jadwiga, Elektrociepłownia Miechowice.
You can try to here an interplay between nature and reminiscences of human presence and activities.
Old abandoned narrow gauge railway bridge stemming from the terrain pierced by the heating tubes and the stream emanating from underneath the coal tip.
There is this nteraction between the water humming under the bridge, the hiss of gas leaking from the tubes and architectonical silence of the bridge itself.
Nagranie odkryto po drodze na hałdę znajdującą się w trójkącie wyznaczonym przez Elektrociepłownię Szombierki, Koksownię Jadwiga, Elektrociepłownię Miechowice.
Możemy tutaj usłyszeć współgranie natury i śladów ludzkiej obecności i działalności.
Stary, opuszczony most kolejki wąskotorowej wyrastający z terenu przeszytego rurami ciepłowniczymi i strumień emanujący spod hałdy.
Występuje tu ta nterakcja pomiędzy nuceniem wody przemykającej pod mostem, sykiem gazu wyciekającego z rur i architektoniczną ciszą samoistności mostu.
I would like to concentrate on one part of my explanation. The moment "here".
For me this somehow totally defines the idea of field recording.
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