KINETISM, Sound Art, 2009
The work explores our daily sound spaces, to which we don?t pay attention anymore. We don?t listen to them anymore we hear them. Roland Barthes declared that there is a difference between the notions of hearing, which is a physiological faculty and listening to, which is a philosophical act
The installation creates internal and external spaces of a human body with sound. The external space, is defined with sounds from the city, while the internal one suggests the body with sounds from heartbeat and breathing
The audience is invited to move around and inside these spaces created by loudspeakers
It delivers a sensation of going inside and outside of a body, an out of body experience induced by the sound
The KINETISM interactive sound installation is based on an interaction between the participants and the installation by a walk inside the sounds
The interface is the whole body of the participant resonating with the sounds of the city (townscapes) and the sounds of the body (Breathing and heartbeat).
Indeed we can speak of a walk inside and outside of the self, like a simultaneous journey in the internal and external self
Can we make an out of body experience awake? The work questions our diluted self and the technoetics
SARC Sonic Arts Research Centre, Belfast
CITY LIGHTS, June 2007
The idea is to create a cube inside a cube inside a cube. I came with this idea in reference to the movie CUBE (1997) from Vincenzo Natali, in reference to Existenz (1999) from David Cronenberg for the game environment, and Until the end of the world (1991) from Wim Wenders.
The first cube is the Sonic lab of the Sonic Art Research Center in Belfast where a 360° degree immersion sound is created over sixty loudspeakers. The second cube is a cave immersion cube with 3 screens where the video is played. The last cube is the interface: A bluetooth cube for musical navigation purpose.
The aim of my composition is to create a space and environment (with audio and video fixed media elements), which correspond to a virtual world where the game player carefully treads.
The interactive process of my piece consists of several micro samples that the player activates through the cube interface. These elements are always different (duration, speed, sound), as a function of the movements.
This creates gestures inside the piece. To make a metaphor with video games it's like going through several levels of listening.
"The metallic Sonic Lab invites the audience to take a stroll into a more intimate architecture inside, a white cube opening its arms like a wily octopus (enteroctopus dofleini). An even smaller white cube is placed within it, ready to be taken into hands, moved around, turned and twisted. Light weight of fate, a change of complexion rolls a dice of narrative possibilities, a game of sounds that open imaginative pathways to various levels.
These levels are cinematic strata, rejected survivors of fuller stories that are barely glimpsed, abstract emotion chambers, such rooms you pass as your dead soul begins its passage to the state behind death, as all ancient boundary religion s in Chinese, Mayan and Celtic culture imagined such final navigations.
Initially conceived as an interactive game environment, with real actors dying on your behalf as the air becomes too thin in the artificial heighst of computer game landscapes, this octopus discovers irritations, the question marks of ink, spewing escape from your grasp of the object. Real time immersion in sonic space, once thought of as a virtual art, is merely a shadow for your last journey, very concretely hinting at the other side of things. The side not played, not chosen."
Johannes Birringer June 2007
VIDEO
Video & sound installation, cultural centre ABC,
La Chaux-de-Fonds, Switzerland 2001
40 bears hanged to a wall. On a screen a video of the production of the bears is projected, on loudspeakers the sound recordings of the production is remixed in a composition. The belly of the bears contains cut up texts from Mihail Boulgakov and William S. Burroughs
