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-chanel sound instalation 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.




 




Tuesday, 8 March 2016

Aural memory, time vortex_flux



Close to the flows of water hearing folds with rapture. River writing elusively captures voices. Aural memory, time vortex_flux deals with premonition, auditory hallucination and their interlaced substance with memory. Poetic text is being altered in perspective to avoid matter of meaning. All sonic material is part of authors performative field recording practice, recorded along river Drava, Maribor, Slovenia, in different seasons and at the same locations, along river Spree in Berlin and at small water stream in Kyoto, the text was read inside of a spring Studenice in Slovenia. The work is composed through topographic memory, using Radio Aporee Maps.

...
Auralni spomin, časovne vrtine_flux / februar 2016 / 41'08''
performativna poezija, besedilo Nišit hivotrv v ohu, zvočna topografija rek: Drava (Maribor), Spree (Plänterwald, Berlin), potok Kokedera (Kjoto), Studenice

Sluh je ob sonornosti tekoče vode pogosto deležen zamaknjenja. Pozornost dela Auralni spomin, časovne vrtine_flux je usmerjena v prisluh in slutnjo, prepletajoč ju s spominom. Pretočna bežnost ujetih glasov se v pisavi rek in intimem razpoloženju poezije posluša skozi vakuum gluhega ušesa.