Friday, 1 September 2017

Flux hortus (paradise#1)


Flux hortus (paradise#1)
intermedia sound installation in the city square
digital sound/radio book in space
location: Trg Leona Štuklja (Leon Štukelj Square), Maribor
1–16 September 2017

when drops of night
submerge forever into
the shadow of sleep

Flux hortus is an aural water garden, a timeless book in space, a library of rivers, designed for listening in motion. It seeks inspiration in the manifestation of a sonopoetic variation on a cosmic garden, and wonders what paradise sounds like. Paradise, pairi-daeza, an enclosing wall, a detachment of a piece of landscape for various purposes.

Flux hortus explores relations between concepts and models of the garden as the idealized form of experimenting with living environments, with an emphasis on audio perception. Rivers. Water is the ultimate available matter of all living beings; it is even much more than man's pure freedom. Corporate control over water stands for the ultimate destruction of man as a free being – human bodies are composed of around three-fourths of water – privatizing water supplies literally stands for a comprehensive privatization of human beings. As well as all other beings. Moving water sharpens the hearing, then confuses it; it evokes premonitions and auditory hallucination, and wakes up the body's memory.

River hydrosonography is set within an interaction with the production regimes of the post-contemporary world. Liquidity constitutes the reality of the everyday from behind the garden's "walls", in the "outside", that is, in a concrete-monetary landscape, which is hostile to the same extent as the outsides have always been threatening.
Liquidity is also the basic principle of a water garden. The radio aporee ::: app upgrades the user's mobile phone into a digital ear for listening to and experiencing the cosmic garden. Whoever has ears, let them hear!

The garden is fuelled by the author's field recordings of the rivers of north, south, east, and west, with wired rivers as a special addition. Flux hortus is an invisible garden. The way to immerse in it is through one's ears. It is an endless garden of the future, a paradise of constant presence. The concreteness of the past resounds through fragmented sediments and chips of sound. With digital hearing, it eliminates the time- and space-based perception. The spatial book of rivers sings, when we walk through it.

Flux hortus develops the practice of, and creates the time-space for poetry sonor. It constructs a sphere of acousmatic sonic entity. The etherial aural setting actualizes the arts of memory. The spacialized sonography explores the memory of the body, the poetic inside the technological. The digital space flattens temporality down to asynchronic aspatiality.

access/use:
= download the radio aporee ::: app (free) on your mobile phone (Android 4.x or newer, iOS 6.x or newer) and plug in earphones. Play Flux hortus (paradise#1) on the location of Trg Leona Štuklja, Maribor. The app transforms your mobile device into a digital ear. By moving across the square, you create your own sonic choreography of a hydrosonic cosmic garden composition. 
... 
Pre-event of the KIBLIX 2017 festival. Produced by: ACE KIBLA

Tuesday, 6 June 2017

Walking Piece … Golden Walls

listen here: walking piece ... golden walls / kunstradio



chrono-spatial poetry sonor

Clogs, high heels, walking boots, bare feet are acoustic instruments. Performative sound practice touches surfaces, echoes walls, utters words. In times when we have lost time as we knew it before digital formats, a sonopoetic walking piece measures the world with the body. Shrunk in the fading of shouted words, the musically gifted Ekho remains misunderstood, left to the era of longing. What is she saying? The piece is based on performative field recording practice, executed in Vienna, with few reminiscence from the sonic paths around Berlin, Trieste, Maribor and Kyoto.

Monday, 5 June 2017

The Window Book


The Window Book, reading and sound performance with mirror and the scroll book Karl Liebknech str. 11, Berlin
as part of the Free Admission festival, Celje, venue: Spital Chapel

Sunday, 26 March 2017

FLUXOR BETON



8-channel sound installation Fluxor beton in public space, duration: 24/7, March - May 2017
Sonoretum, Kapelica Gallery, passage @Kersnikova 4, Ljubljana

8-kanalna zvočna instalacija Fluxor beton na posluh 24/7 med 16. marcem in koncem maja 2017
Sonoretum, Galerija Kapelica, prehod ob Kersnikovi 4, Ljubljana



 
The aural piece chrono-space sound poetry is a digital trace of the performative field practice of OR poiesis; it is sonography in concrete space, an hommage to the lost time as we knew it before digitalisation. This collection of acoustic haikus is primarily driven by the flow of water, steps in motion and words that listen to the lingering breath. Steps echo throughout space, rhythm echoes mood, speech tangles with the whistling of the wind, words hang and float in the air.



Fluxor beton is based on concrete and the seasons of the year. The author explores the acoustic qualities of motion and space. Steps become instruments for sounding the environment, recording suchness of things, mood and rhythm. The written word was once the model for speaking silence, but in these times, digital instruments for recording, storing and playing back sounds are the tools that produce deaf silence of the speaker. 

The author practices chrono-spatial sound poetry – poetry sonor. Fluxor beton is the latest in a series of works based on the performative exploration of walking, speech, space and the modalities of flow (flux). Her work is based on listening (primarily phsically in situ with the body and a pair of additional digital ears, and later on, procesual listening) and focuses on the relationships between sound, human being and silence. Her sound works are all based on specific locations: Transluce, moonlight into porcelain cup / Aural memory, time vortex_flux / Sonopoetic paths Vienna / Berliner Luft, Sonopoetic paths Berlin / Walking Plänterwald / Ear in the garden of silence, side streetsMaribor / Silence, searched near the rivers / Japanese Gardens and Crossings: Paths and Their Sonic Realities.

... 
Auralno delo čas-prostor zvočne poezije je digitalna sled performativnih zvočnih snemanj; je uprostorjena sonografija, hommage izgubljenemu času, kot smo ga poznali pred digitalizacijo. V zbirki akustičnih haikujev so osnovne silnice tok vode, korak v gibanju, besede, ki poslušajo izdih. Korak odmeva prostor, ritem razpoloženje, govorica ozvoči piš vetra, besede obvisijo v zraku.

Za Fluxor beton sem v izhodišče postavila beton in letne čase. Pozornost sem usmerila v akustične kvalitete gibanja in okolja. Korak je instrument za ozvočevanje prostora, beleženje konkretne stvarnosti, razpoloženja in ritma. V izdihu govorice je skrita slutnja prisluha. Nekoč je bila pisava model za govorečo tišino, danes so digitalna orodja za zajem, shranjevanje in predvajanje zvoka pripomočki za proizvajanje molka govorečega.

Avtorica razvijam prakso čas-prostor zvočne poezije. S Fluxor beton nadaljujem niz del, ki sem jih ustvarila s performativnim raziskovanjem hoje, govorice, kraja, in pa modalitet toka (flux). Moje izhodišče je poslušanje (prvotno telesno in sočasno z digitalnimi ušesi ter nadaljnja procesirana poslušanja) in osredotočanje na razmerja zvok, človek, tišina. Zvočna dela imajo izhodišče v lokacijski zasnovi: Transij, mesečina v skodelico porcelana / Auralni spomin, časovne vrtine_flux / Sonopoetic paths Vienna / Berliner Luft, Sonopoetic paths Berlin / Walking Plänterwald / Uho v vrtovih tišin, stranske uliceMaribor / Tišina, ki te iščem ob rekah / Japanese Gardens and Crossings: Paths and Their Sonic Realities.

...
The Sonoretum is run by Kapelica Gallery in collaboration with Egon March Institute and supported by the Ministry of Culture of the Republic of Slovenia and the Department of Culture of the Municipality of Ljubljana.
 
Links:
http://www.kapelica.org/index_en.html#event=1084
https://www.facebook.com/events/1377953532261442/

Wednesday, 22 March 2017

Transluce, moonlight into porcelain cup / Transij, mesečina v skodelico porcelana

A quote from “the red room”. Transluce, Moonlight into Porcelain Cups is an echo of times past. The audio field recordings of intimate performative situations and walks touch the listener through hearing. OR poiesis explores the poetry of the moment through the voice, attempting to release it from its linguistic meaning. Can the silence of a place be distinguished from the silence of the spirit?
... 
Citat iz “rdeče sobe”. Transij, mesečina v skodelico porcelana je odmev preteklega časa. Terenski zvočni posnetki intimnih performativnih situacij in hoj se nas dotikajo skozi sluh. OR poiesis raziskuje izrečeno poezijo trenutka skozi glas, ki ga osvobaja jezikovnega pomena. Ali je tišino nekega kraja še moč razločiti od tišine razpoloženja?


Thursday, 25 August 2016

Ear in the gardens of silence, side streets ... Maribor // artist's book


 Uho v vrtovih tišin, stranske ulice ... Maribor
knjiga na papirju
čas-prostor zvočna knjiga (36'38'')


Ear in the gardens of silence, side streets ... Maribor
book on paper
chrono-space sound book (36'38''

poslušaj tukaj // listen here: 



Knjiga na papirju in čas-prostor zvočna knjiga Uho v vrtovih tišin, stranske ulice ... Maribor. Poezija, performativni zvočni posnetki in radijske intervencije (radio aporee) so nastajali med poletjem in zimo, fotografije spomladi, na istih lokacijah in ob različnih časih (2014−2016). Kompozicijo zvočnega dela sem zasnovala na osnovi prvotne zvočne uresničitve dela ob uporabi radio aporee :::miniatures for mobiles.
*Udo Noll bere pesem (15:47−17:41) Jürgena Beckerja.

The book on paper and chrono-space sound book Ear in the gardens of silence, side streets ... Maribor. Poetry, performative sound pieces and radio interventions (radio aporee) evolved between summer and winter, photographs were made in spring at the same locations and at different times (2014−2016). The sound composition is based on the initial sound work, using radioaporee ::: miniatures for mobiles.
*Udo Noll reads a poem (15:47−17:41) by Jürgen Becker.