Sunday, 25 January 2015

fields, spaces, times, voices, aether ... folded


sonorous flux of archived recording and performative live stream to Radio Aporee
chrono- spatial poem (April 20th 2014, 15:18 / January 15th 2015, 16:32)
listen here:

Tuesday, 6 January 2015

Uho v vrtovih tišin, stranske ulice


lokacija: Maribor
čas: preteklost skoz zguban zdaj


zvočni arhiv: http://aporee.org/mfm/tracker.php?id=167

premiera, performans z zvočnimi arhivi čas-prostor poezije, aprostorski performativni live stream na Radio Aporee (19. december 2014, Centralna Postaja, Maribor)

zvočni dokument poslušajte tukaj:

  »Tihota izpraznjenih, zapuščenih ulic mesta je nekaj, kar me vsakodnevno sooča z modalitetami tišin. Molk mesta običajno odzvanja degradacijo in razpad produkcijskih režimov okolja. A tišina, odmevajoč pozabljenje ulic, razpira konkretnost stvari. In posluša razširjanje časa.«

... hodijo, blodni od naporov pozabe
blaženi v čistosti zalitih vrtin odsluženih ničev

Digitalna sinhronost konkretizira časprostor v izpogibih izven posameznika. S pomočjo digitalnih sfer Uho v vrtovih tišin, stranske ulice okruške slušnega naseljuje izven človekovega spomina, da si jih lahko, z usti tehnologije, govori nazaj, ponavlja v neskončnost. Ne poustvarja le topografskih vozlišč in prostorske (ne)navzočnosti, po strugah, ki spletajo pokrajino neštetih zavojev, se drugače pretakajo tudi časovja, in z njimi glas. Slednji z dejanji, navadami, ponavljanji, s tišinami, afekti in letargijo konstantne samoregulacije sooblikuje globoki čas teles.

Stranske ulice so tuneli že same po sebi, nevidne, s pridušenimi odmevi, vmes med ozkimi, tesnimi prazninami sosednjih hiš.

Poezija zvočnega ustvarja vrtine v pregibih časa. S fragmentiranimi sedimenti odmeva konkretnost prostorov, ko z digitalnim sluhom ukinja vsiljevano prostorsko-časovno dinamiko. Opustele ulice vsakodnevnih poti so iskane namenoma. Ponujajo tišino in razpirajo okolje, ki je navidez izpraznjeno trajajočega in trenutnega podobja.

Tukaj, ob tem intimnem vrtu razpok,
rahlo spodaj
tam je ... tam je tihota niča, v kotu,
tam čepi okroglast je.

Delo razvija teksturo časovnosti konkretnega in digitalnega ter prevprašuje smisel obojega. Avtorica prehaja med performativnimi trenutki in dejanji na lokacijah ter in-situ sonorno-prostorsko kompozicijo, vključujoč gibanje v fizičnem prostoru. Istočasno pa on-line razpostavitev zvočnega gradiva omogoča prost izbor načina poslušanja in ustvarja drugačen radijski prostor.

Glas prihaja bližje kot pogled. Muzično bogato obdarjena Ekho, skrčena v izzvenevanju izkričanih besed, ostaja nerazumljena, prepuščena veku hrepenenja. Glas se lastninjenju izmika.

Je glas v digitalnem do-končen – nesmrten?!


Delo je usmerjeno v dinamiko med sinhronostjo digitalne zvočnosti in anahronostjo konkretnega ulic ter v učinkovanje obojega na zaznavo, predvsem na razplastitev časovja.

Avtoričina praksa sonorne poezije/poetry sonor je že tako in tako razdrobljene zvočne-tekstualne fragmente še dodatno razkosavala in jih razpostavljala po prostoru (konkretnem in digitalnem). Zvočni prostor časprostor poezije prepleta tri plasti – površino, podzemlje, eter. Vsak zvočni fragment je samosvoj performativni dogodek, izveden na lokaciji, ob zajetem zvočnem polju vključujoč spontani govor, branje, gib, v premenah z vstopi v eter radia. V ospredju je naključje konkretnega (glas, tekst). V aktualnem primeru Uho v vrtovih tišin, stranske ulice publika prispeva variacije linearne kompozicije teksta.

Posamezni/ca-k je prepuščen/-a samosvoji navigaciji skozi avditorij akuzmatičnega dogajanja vzdolž ulic in cest, brez programa in kažipotov. Ohlapna kompozicija zvočne teksture namenoma ohranja digitalne zvočne pajčolane prosojne, da lahko vsakokratna konkretnost dogajanja in razpoloženj vstopa v razmerje. Iskana je izkušnja časovnega zamika v neposredni dinamiki časovnosti telesa (časovja posameznika) in časovnosti digitalne sfere ter aktualnih večopravilnih aparatur s številnimi tokovi in valovi, v interakciji z arhitekturo prostora in časa.

Raziskava temporalnosti digitalnih medijev, ki čas prvenstveno ploščijo v enodimenzionalni tukaj in zdaj, zraven arhiviranja in projekcije prihodnosti, s svojo časovno neobčutljivostjo omogoča izstop iz uveljavljenih institucij časovnosti. Kritična raziskava je usmerjena v prisotno digitalno vsenavzočnosti – kako se čutilnost, čutnost in miselnost odziva na tovrstno akuzmatično realnost.


Po izvedbi performansa konec decembra je sedaj zvočno/radijsko delo Uho v vrtovih tišin, stranske ulice trajno (čeravno si avtorica pridržujem možnost variiranja njegove zvočne in krajevne pojavnosti) namenjeno poslušanju na konkretnih lokacijah v Mariboru – z mobilnim telefonom (android, iphone) in aplikacijo Radio Aporee (radio aporee ::: miniatures for mobiles).

Tehnično napotilo za dostop in poslušanje: mobilni aparat opremite z app Radio Aporee (http://aporee.org/mfm/app.html) in sprožite Uho v vrtovih noči, stranske ulice. Kot boste aparat premikali po prostoru, tako boste predvajali posamezne zvočne fragmente. Slušalke naj bodo prepustne za zvočnost konkretnega prostora.

Delo lahko poslušate še kako drugače, recimo tukaj in zdaj: http://aporee.org/mfm/tracker.php?id=167 ... in se bodisi prikrajšate za izkušnjo konkretnega čas-prostora bodisi delo obogatite z zvočnostjo vašega okolja in časa.


premiera, performans z avdio arhivi časprostor poezije: petek, 19. december 2014, 20:30, Centralna postaja, Maribor, Zavod Uho-Oko, ciklus Beli šum: http://www.centralnapostaja.si
in sočasno aprostorski performativni zvočni prenos/live stream na Radio Aporee: http://radio.aporee.org/
 
Petra Kapš (aka OR poiesis) je avtorica, piska in kuratorka. Besedo, njen primarni medij, razširja v sonornih sferah časprostor poezije.

produkcija: Petra Kapš/OR poiesis, s podporo Radia Aporee
premiera dela s performansom: Zavod Uho-Oko, Centralna postaja, cikel Beli šum
posebna zahvala: Udo Noll, Vinag za vstop v tunelske kleti in tamkajšnjo stekleno cisterno.
Projekt je uresničen s finančnim prispevkom Mestne občine Maribor.



Friday, 2 January 2015

Ear in the gardens of silences, side streets

location: Maribor
time: past through folded now 

sonic archive: aporee.org/mfm/tracker.php?id=167

audio document of sound performance, playing archives of chrono-spacial poetry, performative live stream on Radio Aporee (December 19th 2014, Centralna Postaja, Maribor

listen here:


»Quietness of emptied, deserted city streets is something that confronts me daily with modalities of silence. Silence of the city usually resounds with degradation and decay of areal production regimes. But silence that echoes with the oblivion of the streets, opens up the suchness of things. And listens to the extension of time.«

... they are walking, delusional with the efforts of oblivion
blessed with purity of filled up holes of worn out nothings

Digital synchronicity concretizes spacetime as it folds outside the individual. Assisted by digital spheres, Ear in the gardens of silence, side streets sets up drops of what can be heard outside the human memory, in order to be able to utter them again, repeat them infinitely with the mouth of technology. Not only is it recreating topographical knots and spatial (non-)presence, it also makes time, and with it voice, transfer differently along the riverbeds weaving in myriad curves. And the voice, together with actions, habits, repetitions, silences, outbursts and lethargy of constant self-regulation, helps shape the deep time of bodies.

Side streets are tunnels within itself, invisible, with stilled echoes, positioned between narrow, tight
emptiness between neighbouring houses.

Poetry sonor creates holes into folds of time. Using digital hearing to abolish the enforced dynamics of space-time, the concreteness of spaces reverberates with fragmented sediments. Desolate streets of daily paths are intentionally looked for. Offering silence and expand the surrounding seemingly emptied of lasting and momentary imagery.

Here, beside this intimate garden of cracks
slightly lower
there it is... there is the quiet of nothing, in the corner,
there it squats, the rounded IS.

The work is developing the texture of concreteness and digital temporality, while also questioning the sense of both. Author is passing between various performative moments and actions on locations and in-situ sonic-spatial composition, including movement in physical space. At the same time, online availability of audio materials enables a free selection of the hearing mode, thus creating a different radio sphere.

Voice reaches closer than the gaze. Shrunk in the fading of shouted words, the musically gifted Ekho remains misunderstood, left to the era of longing. The voice evading privatisation.

Is voice in the digital sphere de-finitive – immortal?!


Format, listening:
The work focuses on the dynamics between the synchronicity of digital sonority and the anachronism of concreteness of the streets, as well as the effect of both on perception, particularly on opening out the layers of time.

Already fractured sonorous-textual fragments were taken further apart by author's practice of poetry sonor, and arranged across the space (actual and digital). The audio space or spacetime of poetry combines three layers – surface, underground, ether. Each audio fragment is a unique performative event, executed on location, including spontaneous oration, reading, movement, as well as the captured audio field, alternating with going on air. The coincidence of the actual (voice, text) is in the forefront. In the current example Ear in the gardens of silence, side streets, the audience contribute their variations of the linear composition of text.

The listener is left to his own navigation through the auditorium of acousmatic happening alongside streets and roads, having no programme or signposts. The loose composition of the sonorous texture ensures that digital sonorous veils remain translucent, thus enabling each actuality of the happenings and moods to enter the relationship. The aim is to encounter the experience of a temporal delay in direct dynamics of the temporality in the body (individual's temporality) and in the digital sphere, as well as current multitasking devices with numerous streams and waves interacting with the architecture of space and time.

Research into the temporality of digital media, which are primarily flattening time into the one-dimensional here and now, in combination with archiving and projections of the future, its insensitivity to time enabling the way out of established institutions of temporality. Critical research focuses on the present digital multipresence – i.e. how sensation, sensuality and mentality react to such acoustmatic reality.


Petra Kapš (aka OR poiesis) is artist, writer and curator. Word, her basic medium, extends into sonorous spheres of chrono-spatial poetry, poetry sonor.

Work was premiered with performanse on December 19th 2014, 20:30, at Centralna Postaja, Maribor, Beli šum: http://www.centralnapostaja.si
Special thanks to Udo Noll, Radio Aporee, Vinag for access to tunnel cellars.
Project was realized with support of Municipality of Maribor.