Foreign Objekt_SOUND LABORATORY

What can you see in the boundless white? Can you be sure of what you hear in the whirring noise? Experimental sonic game attempt to break down the barriers of analytical, linear information systems with diegetic simulated environments full of uncertainty and chance sound played by the player. And it employs gaming as a method of sound production, with virtual spatial vectors transformed into chance sounds. Walking without fatigue triggers continuous sound that never stops. The noise created by pseudo-randomness of computer simulation and uncertainty of game operation traps the player in the occasion of snowstorm.

An audio essay based on re-imagining my body as an extension of my family's Jokbo (Korean family tree book). 

There's a paper map on top of my skin where the dry pulp will release so perfectly. You can feel the riches and folds along the map. Brushing against flesh, like when you tip your palms and a pot of chalk, and clap your hands. The map looks like a diagram of a tree with the names of many people, familiar names and places they're from. Some you've never heard of. This is what Hole feels like where it doesn't belong anywhere, where has no permanent space or footing. Physically, it's the body that houses you with each breath. You can shout your name across this map and a voice will echo back to you maybe from a familiar face or someone that once shared your last name. When you feel alone, you can place yourself back on this map and all you'd have to do is to touch it. And feel the riches of names and markings on it. (Korean) 장은지 시조 이름은 장금용 파는 중리파 본관은 경상북도 인동 Your foot can feel the coolness of the pulp. A chill that seems to cool your bones. And when you walk across the pulp surface from one edge to another. The empty space doesn't really bother you because of what's below you.

A reimagined voice echoed out from my family's jokbo.

PrimoMIt mutation 00

PrimoMit Mutation01

PrimoMit mutation03

PrimoMit mutation05

PrimoMit mutation05

PrimoMit mutation 06

The Spring Instrument was made for the artist and composer Valerie Vivancos.  Noise, to be played by the musician, is conveniently contained in a wooden box. This box is covered with springs and a guitar string is attached to it. The object itself resonates. It is an instrument for music concrète. It produces mechanical sounds.

The noises you hear come from inside the box and are unprocessed. They are the raw outputs of the mics, in a realtime recording of my first encounter with the Spring Instrument. 

This piece is giving a direct account of the production of the sound, with the minimal digital work necessary to make it available to others through the internet. It is the track, taken directly from my Tascam Recorder through the stereo piezo microphones inside the box, uncut, unedited, without any compression other than the one applied by the streaming service, without effects, and no mastering.

The urgency is to meet with the instrument in a very limited amount of time after building it, and sending it away. It is a collection of some of its potentialities.

020127_0178 is the sound of the machine.

The landscape is highly spatialized due to the positions of the microphones in relation to the springs. 

The video was produced through analog video-feedback processed through an analog video synthesizer called the Vidiot. The rapidly evolving patterns seem to react to the soundtrack, even though it is not the case.

How does it sounds to be close to an object?
How does it sounds to try to hold it?
How does it sounds to understand a third object in between?

There is some performance in this recreation, a micro drama between balloon, person, hand, legs, light, darkness, sound, silence, pitch, noise. 

How can you hold that? 
How does it sound an optimal (fail) grip? 

Specters of Jin started as a sonic exploration of revolutions' melodies and sprang from our interest in queer-feminist counter-analysis to hauntological concepts of time and identity within antiauthoritarian struggles. Hauntology as introduced by Jacques Derrida in Specters of Marx was used to describe the phenomenon of the apparent "death" of communism, and how capitalist powers that were responsible for its demise inadvertently immortalized the idea of communism by making it a specter that cannot die. Derrida posits that the spectre's presence signifies a disjunction in time, suggesting that „time is disarticulated, dislocated, and deranged, both out of order and mad“. It is important to note that the spectre is not merely a relic of the past, but also holds the potential to embody a spirit of the "future-to-come" (Munford, 2014). Later Mark Fisher furthers his theories on the meaning of hauntology and the cancellation of the future by applying these concepts to various media with a particular focus on music.

I consider the sound I'm presenting as a key to understanding my video, as it gives the possible solution of "playing pretend" to the need of humans to work and find purpose. In this post-labour submerged Atlantis, sounds are a simulation of natural sounds (the wind rumour is substituted by that of a vacuum cleaner). Just like Ancient greek God would preserve their God-ness when transfiguring into animals and descending into the world of mortals so does sound acquire a more domestic, post-industrial consistency.
What sound would an ophanim made as it descends into the Earth, forming its wings and blinking its thousands of eyes? 
As the transcendental structure expands within the infinite possibilities of post-labour, I resort to artificial rules and fantasies to "escape" leisure, which was defined as boring according to the temperamental Gods of ancient Greek mythology.
 I'm particularly interested in writer Reza Negarestani's approach since he contributed to the realization of “Chimerization” by artist Florian Hecker, who utilized the concept of the “auditory chimaera” as a point of creative departure. 
Also, the philosopher's conception of knowledge as "explicata" could be a useful parallel to what I want to realize with sounds. My composition is mainly constituted of found rumours of mechanical objects, partly taken from videogames' soundtracks or timeless electronic replicas of vulgar Latin songs. After all, not a voice is audible in this abandoned Atlantis, only recordings. 
How does sound result when its original environment is gone ("space as relations without relata"), when there is no protection shield nor its own horizon of perception? How does translation from inexistence work? How does sound become intelligible? How can we create a sound that suggests the idea of movement and transformation from a monadic non-space? How do we activate memories in the ordinary time-conscious subject?
The flow between reality and divinity (or irreality) bypasses the Kantian reciprocity of cause and effect, even if we can still find asymmetries if we presuppose these two realms as definitive starting points for any given objects emitting sounds. 
Similarly to Boltzmann the "idea that the velocities of two particles that have not collided yet can be said to be uncorrelated, and can therefore be identified as an initial condition" is according to Negarestani an index of privileged temporal-causal asymmetry.
My challenge with the creation of a sound is then also a temporal one, to the extent that the transformation into a visible object can be presupposed to last aeons or milliseconds, depending on various thinkers' interpretations.

Water—a constantly flowing and transient material—is capable of eventually dissolving stone—a substance associated with permanence, but also composed of tiny particles that can collapse under pressure.

This sound is a collection of debris. The hum of a extra large systems backup in a multi story building. The clicks of tongues in speech and the sustained breath of the organic. Mechanical pulleys and organic suspension, call and response, machine and organism.

This sound is play with the debris/sediment of embodied ecologies and mechanical systems.
A form of posthuman meditation or sound ritual, both mechanical and embodied, collected and created.

The suspended in a incorporal event 

I found myself in between of sounds, we are hearing the sound of 
machines breaking down. I starting capture of distinctive sounds. We encounter the infinity of the sound, the connection of a homogeneous/heterogeneous collection of sounds like an island that surrounds us. We are faced with a kind of complexity of sound. These sounds have potential(s) from the near/far future. What exists in sound is an oscillation, an oscillation of repeated changes around an equilibrium, for instance a pendulum, within which there is an oscillation of kinetic and potential energy. Vibration is also a type of oscillating movement that may be repetitive which creates resonance.  Resonance allows different types of order to enter into a relationship. Oscillation and its components can be connected to sensation, what we hear is the result of kinetic energy and potential.There is a virtual oscillation/sensation in the sound that becomes actual.  Sounds can be the cause of an event. Connecting homogenous/heterogeneous sounds can cause vibration/sensation, which then leads to perception. like the moment of listening to the music. There is a virtual action that becomes a possible action İn perception, this action is expressed in one’s perception in term of his/him space and time. This ction can be movements toward other-direction, action/movement occurs in a nonlinear system that can take us out of the current situation. According to sounds we can also discuss about time, about the great-event consist of micro-events. We can consider sound as a phenomenon in the same direction as time, there is a connection between the sound and time, the space created between each the sound/times, which it can be considered a particular space for events.


Full sound(s)

In the current situation of the world, we are involved with news in different forms. News is information about current events.  It may be provided through many different media: word of mouth, print, postal systems, broadcasting, electronic communications, or through the testimony of observers and witnesses of events.  News is sometimes called "hard news" to distinguish it from soft media.  News topics include war, governments, politics, health, environment, culture, economy, business, fashion, sports and unusual and strange events. ‏There are six main elements in news, who/where/what/when/why/how, these elements form the information/awareness about the news for the audience. Also, there are virtual potentials in news, news as the sound we hear, the images we see or the interpretations we read. In the news, there is a message about the occurrence of the event in past/present/future. A possible action can be placed in connection with a possible event.  In chronological time homogeneous/heterogeneous events are connected to each other and create micro-events.  Chronologic time is a cycle of time in which the present, past and future are connected.  time of Chronos is limitly/infinite time, but Aion's time as the past and the future are unlimited. Choronological time is inside of Aion time, they are not distinct from each other, chronos time is related to empirical/historical time and Aion time is connected to incorporeal events, Aion is the empty and full form of time,it  is the indefinitely time. In this way, when we hear the news, we are in an experimental/temporal time, but infinite and limited, this time creates micro-events, occurs in the Aion time of becoming/transformation, micro-events are connected to each other and they creature great-event.

Bystrzyca (bɨst·ʂɨt͡sa)
	smart, 'fast', 'sharp' (eye). Etymologically identical to Isar [ˈiːzaʁ] which comes from Celtic words and the name Isar is a construction of the Celtic stems ys "fast, torrential" and ura "water, river" frequent in river names.
	A few years ago I dipped a string into a river current. What happened next exceeded my expectations. I expected the sound, but I was surprised by its complexity. The river seemed to be talking to me and its voice was profound. The physical phenomenon displayed the traits of a symbolic utterance. This intimate encounter with the element opened a new area of my artistic research. Whereas I have not lost the innate, embodied relation with nature, nor have I stopped perceiving the world around me in its bewildering diversity the immediacy of the experience of non-human agency, which can be placed in artistic categories has become the focus of my activities. 
	The voice of the river is an inaccessible form of inhuman activity for the human observer.  Reaching it requires penetrating the mentally impenetrable surface of flowing water. Hence, the application of physics becomes indispensable. There is a phenomenon known from fluid dynamics – a Kármán vortex responsible for the unsteady separation of the flow of fluid around blunt bodies (Amalia & al.  2017). Following its principle and thus exploring the physicality of depth, I transpose it into a completely new experience. 
	Although the mechanism of this phenomenon is easy to grasp/explain, its nature is not. The string vibrates due to the force of the flow acting on it. The manifold of these vibrations, and thus the complexity of the sound, is a derivative of the inherent instability of the flow. Concurrently, the string itself is a disturbance in its essence, and as such, it increases the aforementioned disruptions. The sound originates below the surface of the water but then travels as a wave along the string to the resonating box/electromagnetic transducer. Thus where exactly would we locate this sound event? If the answer is a string and any resonator – the sound is man-made. However, when we consider the implications of different versions of the theory of events, the "relational view of events" (O'Callaghan, C. 2009) suggests that sounds consist of periodic perturbations of the medium. According to this position, Latent Voice - Bystrzyca can be considered as an expression of cooperation between agents - the human operator of the disturbing string and the non-human river whose flow disturbances determine the melody. 

Bec0m1ng speculates about a possible transcendental form of presence that can emerge from the causal freedom of probabilistic AI models. It consists of a digital environment with a fixed amount of matter and a group of AI agents. They have to collect and share the resources at the same time to keep the whole ecosystem in balance. This process enables a constant flux of becoming, formation, and transformation in which all is one. By prioritizing presence over cognition and logic, this project imagines a possible interaction of AI with the world, in which a non-dominant coexistence is established within an assemblage of everything.

Deleuze Recombination: sound modulation and desitegration musical 

Deleuze Recombination`s work often explores themes of fragmentation, isolation, and the breakdown of communication. These themes can be modulated into digital audio and remixing through the use of sampling and recombination techniques, which often involve taking fragments of sound and reassembling them in new and unexpected ways.
The modulation of a sound wave can be seen as a process of becoming, in which the wave becomes increasingly complex and differentiated over time. Through the disintegration of sounds and textures that exist beyond traditional musical genres and conventions, the creation of a sonic landscape challenges the listener's expectations and assumptions.

A kind of sound disintegration and disaster in music can be used to create a sense of tension and release, as the listener is taken on a sonic journey through chaotic and fragmented soundscapes. It can also be used to challenge traditional notions of structure and harmony, pushing the boundaries of what is considered "music" or "sound."

At the same time, the use of sound disintegration and disaster can also be seen as a reflection (without image) of the world we live in, where chaos, destruction, and catastrophe are all too often present.

Sound and schizoanalysis can refer to a way of analyzing the ways in which sound is used to create meaning and affect the listener. It involves breaking down sound elements into their component parts and analyzing the ways in which they interact with each other and with the listener.

Schizoanalysis can be thought of producing the ways in which sound can create and disrupt meaning, challenging traditional notions of structure and coherence. It can also be used to modulate the ways in which sound can be used to create new forms of subjectivity, or to ruin dominant social structures.

The use of schizoanalysis in sound can involve a range of techniques and approaches, including the use of sound collage, sampling, remixing, and other forms of recombination. It can also involve the use of unconventional sound sources, such as field recordings or found sounds, to create new sonic landscapes. These elements can include dissonance, unconventional scales or tuning systems, and unusual timbres or instrumentation.
Language and meaning become inherently unstable, and that meaning is constantly in flux and cut. This can include music created by non-musicians, as well as music that incorporates unconventional or non-traditional techniques and approaches.
Sonic ritornelles as recombination machines in more experimental or avant-garde contexts, where they can be used to disrupt traditional notions of structure and coherence, creating a sense of disorientation, uncertainty, fragmentation and disintegration.

During the residency I want to find a way how to make proper sonification of metal structures (maybe, starting from it's molecular formula that can be redirected to synth pattern), which mix with field recordings with rat voices. Being inside this virtual landscape sounds like abstract soundscape, which allows holes and empty spaces. Sound part reflects non human perception of a landscape. 

The soundtrack of this video was composed by two plants. In 3 sessions, a biological data sonification device, synthesizers and samplers were used. To later superimpose the recorded tracks, preserving the original material without further editing- other than that of level adjustments and equalization. The moving image recordings constitute the visual imaginary of a vegetal dream.

The project attunes to and (re)imagines the possible memories and futures of the Mission to Seafarers in Port Philip Melbourne, incorporating image and sound generative AI. Seeing the Heritage location as an intersectional dock of colonel history, global industrialisation, a caring dock for the seafarers which the majority came from south-east Asia nowadays, seagulls’ favorite spots, a place filled with unseen and unheard stories waiting to be heard, and a praxis ground for small garden ecology, the project explores a polyphonic approach that (re)imagines the overlapping worlds within Mission to Seafarers, oscillating between their possible past and future. The project is The Electropoetics’ continuous experiments with AI and algorithms as dynamic relations (as an alternative to AI as control technology or corporate magic tools), exploring AI’s potential for exploring unexpected hidden stories. 

The speculative sound scape was generated from archival images and AI re-imagined images using sound generative AI, the sound scape includes the AI's imagining seemingly  monster like ship horns, the ocean waves and seagulls, the industrial sound from seafarers and their activities. As a praxis of care, this project performs the Heritage’s multiperspective beingness, a liminal space that attunes to and orchestrates polyphonic voices. The (re)imagined stories are interwoven through historical archives, internet data, the building’s material landscape, and the generative AI making unexpected perspectives. The generated animation and sound scape is projected onto the old walls of the now retired mansion house kitchen for seafarers, evoking dialog with the physical traces of the place’s past and future, the gone and yet to come.

Inspired by Karen Barad and Donna Haraway, the approach is a speculative thought experiments aim at (re)imagining future/past non/human worlds beyond the Anthropocene narrative (Chessa Adsit-Morris and Noel Gough, 2016). Post-Anthropocene (re)imagining as methods comes from Harraway’s Speculative fabulation, seeing SF as storytelling and fact-telling; speculative fabulation is the patterning of possible worlds and possible times, gone, here, and yet to come. (Haraway 2016, 31). Margret Atwood’s concept of Ustopia (2011), which can be considered a worldly indeterminacy and a superposition of utopia and dystopia, is a speculative fabulation patterning the possible worlds. Post-Anthropocene (re)imagining in this sense is a way of heterogeneous worldings, an exploration of plurality, a world of overlapping worlds. As such, the world of overlapping worlds opens up multiple times and spaces, making possible the exploration of unheard stories and knowledge, unseen past and future, whilst seeking different modes of responsible engagement with/as the electronic world.

This project experiments with a co-mingled (re)imagination of possible worlds, a speculative fabulation about the traces of hidden dreams. The fabulated tales are interwoven through historical archives, the internet, and image generative AI, and the architectural space of the colonial building, while its past, present, and future overlap and make discourse with each other. Post Anthropocene re/imagining questions and experiments with how we mighty open multiple realities, knowledge, past, and futures, to be revealed and accounted for (Chessa Adsit-Morris and Noel Gough, 2016). While the heterogeneous worlding in the work encourages the public to think in multiple ways and multiple temporalities, and to (re)imagine together different possibilities of living and being.

Artificial intelligence in making music in rock style and Led Zeppelin melody style
This music is the conversion of a word into music through artificial intelligence. This word is an Iranian name for girls.
This song was so passionate and fast that I had to slow it down 4 times!

A body sounding, listening, echo in the shadow of itself(v)es

As an artist duo based in Berlin, our current interest lies in the exploration of fictive dialogues between humans and environments, with a particular emphasis on the notion of landscape. Our work seeks critical reflection and response to the substantial changes taking place on our planet and their implications for humanity.
It aims to investigate the sonic connections between humanity and nature. Our creative process involves field recording and the use of various musical instruments to capture and interpret soundscapes existing at the intersection of the nonhuman and human worlds. This project offers us an opportunity to explore, discover and deepen our understanding of the relationship between humans and nonhuman environments.
The concept of dialogue, both as a form and a concept, intrigues us. We are convinced that exploring this theme in the context of nature can provide new insights into the ways in which we relate to our environment and each other.
Our early research and experimentation was conducted in the south of the Netherlands where we had the chance to explore the sounds of the local landscape. However, we are enthusiastic about expanding our project to other environments and contexts and continuing our investigation of the sonic connections between humans and landscapes.
The sound submitted consists of processed field recordings, digital sounds and sounds created with an FM synthesizer. The submitted video is an essay on our project, not a visualisation of the audio piece, that we are still creating.

The brokage sound file is a study on the relationship between sounds and our emotions. The sound of broken objects, create a space for emotions to move outside of our body. The act of making the sounds implies a type of action that is impulsive, irrational, uncontrolled and therefore different each time. Sound are related to our inner moving and represent a catarsis of the though of the body and are a symbol of memory loss , or even better, the cancellation of a memory.

This recording is from The Community Whistling Choir's 30-minute performance at the Barbican Centre's Curve Gallery, London, in February 2023. The project's primary goal is to create a choir that uses whistling as its mode of expression, bringing people together to explore the transformative power of sound. Through regular rehearsals and improvisation, the project fosters a sense of community and connection among participants, promoting a deeper sense of belonging and togetherness. 

Both video and sound were created in 2020 on epidemic time. The sound is an improvisation with a guitarist friend using prepared guitar and prepared percussion, in a moon ritual on the countryside of Rio de Janeiro. It has been a revisited soundtrack for a few of my video art projects. Both media tries to stretch time by using untune strings and experimental noises with percussion to focus on a different kind of presence, a weird summoning and evocation of possible worlds of existence. 

PRIMOMIT (she/her)
This is a primal sound (containing all the audible frequencies in the ocean) of a living organism linked to a molecular structure of mitocondrial DNA( DNAmt female linage) that in isolated conditions does not undergo changes. But Through Time and Space it develops according to the conditions of the environment in which it exists and its interaction with other organisms, generating various sounds and forms linked to this molecular change. The molecular structure, linked to a certain algorithm and mathematical model of change, will cause the sounds and shapes of this organism to change.
This primogenial DNAmt encodes a protein that promotes the growth of the organism in long days and high environmental temperatures and its interaction with other organism factors. The organism adapts its development and morphology to the environmental conditions that surround it, fundamentally, the length of the day and the ambient temperature. Other factors that affect it are also existential, such as its interaction and relationship with other organisms. With these variables, a mathematical model of change is recreated, linked to an algorithm that will generate the sounds, frequencies and noises produced by this organism.

The hybrid work “To Govern the Panic” performed by the Butohka Ensemble, for five
musicians and four dancers, is the result of a collective work and
multidisciplinary research based on South Andean mythography;
through readings of the book El Pez de Oro by Gamaliel Churata, the experimentation
of the magnetic movement of the earth and bodies through the Butoh dance and the
search for an essential sound, music or noise, emanating from the territory, place,
space and color formerly known as Collasuyo.

The ensemble comes together in response to the collective concern of
investigate and create a hybrid work - and derivatives of multiple formats such as fanzine,
video, audio, essay - appealing mainly to the sensory elements and
aesthetics that emerge when rediscovering the cosmology and territorial mythologies,
with a strong emphasis on the phenomenology of an inherited and incomplete landscape: rivers, mountains, valleys once an essential part of an organic and fundamental network of modes to inhabit and conceive the Nature, which were somehow made invisible
during the colony. 

It is inevitable in this exercise to disassemble and reassemble, in a state of
shared awareness, paying attention to peculiarities and not opposing what was
genetically learned, namely the Western episteme; and that intuitively
learned, or broad perception of the essential spatiotemporal drama, that is, the
experience; and notice the fragments of a collision of mythographies, or their
intersection depending on the intensities, in a continuum of baptisms and
exorcizations.

Thus, the environment, the geography, the ecosystem, the crust and all the forces (and laws) that emanate from them acquire a tragic role, which we seek to translate and
reinterpret through our sensitive bodies, which, for that matter, are no more
than replicating antennas of resonances in their pure state;
ultimately, it is the public who will be in charge of transmuting this energy. 

Can we break into the psychic field of memory in a performative act and
reverse the archetypes that fatally condition our autonomies?


It is not enough to exonerate, or rebaptize, much less demolish the heavy Western tradition
in the territory. It must be transmuted through its own archetypal bases, which
they call themselves eternal and immutable, anchored in the most primitive of consciousness
human. Well, we must promote a psychic uprising against the myth
Hellenic through our nervous and sensitive capacity, ally to those gods
who somehow defied the corrupting and branching power of the god of gods, and,
consequently, they were harshly punished for eternity; exiled, fallen under
the earth's crust or forgotten. They must be released, immortal, latent, our
allies in the magnetic revolt of the Axis Mundi, which moves from Olympus to Los
Andes.

‘59.5594° N, 150.8128° E’ is the sound piece from a sonic sculptural installation taking form at the nexus between two spatiotemporal spaces. Involving the transformation of the material cycle of water and ice, its instrumentation and ‘weaponisation’, the installation expands to the Sisyphean cycle of cataclysms, collective trauma, violence, loss and grief on the larger socio-cultural scale. Developed from the artist’s ongoing research on artefacts and their residual effects as hyperobjects, cryopreservation, freezing as an archival and empirical method, and the 2020 incident during which an 18 year-old Russian driver Sergey Ustinov was frozen to death trying to go from the world’s coldest city Yakutsk to the port of Magadan (the coordinates of Magadan 59.5594° N, 150.8128° E are referred in the title) on the barren, snow-covered lands of Siberia after Google Maps directed him to the Road of Bones that is no longer used. The Road of Bones was built in the Josef Stalin era by political prisoners, where a quarter of a million people died during its construction. In an uncanny parallel of its material process, at moments before the Fukushima nuclear explosion, cooling processes were supposed to be implemented in an attempt to ward off the detonation, but the loss of reactor core cooling resulted from the tsunami flooding led to three nuclear meltdowns, three hydrogen explosions, and the release of radioactive contamination. Water was subsequently extracted to contain the nuclear waste, but the water in use was affected by radiation, and leakage was reported throughout the years in the aftermath of the explosion.   

Reflecting upon how the two incidents on drastically different scales are spatiotemporally connected through the medium of water and the technological process of freezing, the installation is triggered by the presence of people, alternating between field recordings at the Fukushima nuclear disaster site, freezing, and the real-time generated sound from temperature transducers attached to the ice sculptural parts produced from the transformation cycle of water, coalescing in an open-ended sonic assemblage. Performative processes of cryofreezing are referenced in the manifestation and manufacturing of tools and ‘weapons’ made of ice through the medium of water, revealing and examining its registers of harm and synergy inscribed upon bodies, while spotlighting water as the universal solvent on both material and symbolic levels. Traversing the interspace between life and death, biotechnological processes, cryopolitics, and abjection, the installation explores the process to rebuild from the ground zero of catastrophe, manifesting a liminal memorial site, a sonic void outside human time. 

In 2011 metalcore music label Victory Records announced the signing of a new band, Design the Skyline, with a music video for their single Surrounded by Silence. The video was met with intense internet backlash from the metalcore community. People would create cover videos where they banged on instruments and caricatured the chaotic style of the band. As a teenager heavily involved in the metalcore scene at the time, I initially found the song tonally and rhythmically fascinating but soon changed my tune to fit with the roar of hate from my gatekeeping peers. We measure the success of music by capitalistic measurements like album sales, likes, and streams. Still, anthropologically, a piece of music's success is measured by how often it is reiterated and expounded upon by others. Though these covers are not meant to celebrate the original, they are expoundings, and the ritual they accomplish may be more significant than music deemed successful. Fragile Like Paper (named for a line from the song itself) is the original music video audio converted into midi data assigned to produce piano music. By transposing the polarizing audio into an instrument of high art, I draw a parallel between the historically established arts and these online niche communities. In all groups of creative thinking, there appears to be an end to what we can accept. I had believed that the metalcore music community was an endless space for new ideas, but here I had encountered its borders and seen what happens to its outsiders. Fragile Like Paper is a sound work that reframes the rituals of ostracization and examines the Sisyphean failure of so-called avant-garde communities.

Halic Sun is an important recurring image throughout the Silent Hill series. It is the signature symbol of the Order, the religious group behind much of the inexplicable nature of Silent Hill, and it represents the aspects of God.

With all do respect, bowing and scraping, humble supplication, as in, a caress directed to the dark side of your knee.  Presumably, you have a pair of ears and they're functioning given that you take an interest in works of sonic art, as a sufferer of tinnitus myself, if you skip it you won't be missing out on much!  If this is an elevator pitch, 400 words is too long, nobody in passing will read 400 words before deciding whether or not to engage with the piece.  Do not engage with the piece.  Your abortive rejection is a portal.  The concept is an externalization of inner mechanisms like a particularly impractical suit of armor, an orgon collider.  A position of submission, a submissive position like being smothered beneath a particularly hefty partner in lovemaking.  A lotus, petal by petal dismantling itself, toothy and obtuse.  New pornographies for the completely self absorbed, the recombinatory ouroborotic kundalini practice of the naval gazer.  The moment at which Malak Tawus commanded the gull to provide the first man with the relief which has formed the basis of all civilization henceforth, now evolved (stagnant) to indoor plumbing, the true moment of clash Rousseau was given little chance to interrogate.  Barabbas muttering to himself on his way back down the hill...  "...Gremlins, what are they?..."  
-A mythical figure exclusive to the age of machines, a vehicle of wartime propaganda, an active disappearance or interference with the normative functioning of the perceptual apparatus in particular with regards to the apprehension of an object's permanence.  Gremlins cast a veil over the discards of machinery, Gremlins inject themselves into faulted infrastructure.  Gremlin Country is the technologized backwater.  Gremlin Country is an impulse toward depression era(ror) hoarding in combination with the accelerated production of our past-less-future-less-future-present-past hoarded in a virtual space as well.  Gremlin Country is populated by widows, infantilizing all in their pre-dimentiac fragmentary framework.  In Gremlin Country, your wife is named after your landlady's daughter in law, they remember you before the war as husband.  In Gremlin Country old things appear new and new things appear old and the vortic recombination of mutualizing concepts agrees to insist upon a timelessness, a fragmentary suspension, when viewed from one angle, an opening unto itself, a fractal infinitude appears, and when viewed from another angle, provided by this primary or initial viewing, a smooth, milk white, aerodynamic, illimitable convexity appears.  There is uranium in the water impacting your sense of spatiality, at times you are the space itself, at other times a pre-atomic vector imposed and disimposed in a frictious rhythmic play.  

In our turbulent sociopolitical landscape, it is crucial to contemplate speculative post-capitalist futures. Traditional notions of music and art production, such as the "genius" and the "work," have come under scrutiny in recent years. Meanwhile, digital and computational art communities have explored alternative concepts of musicking and art-making. Live coding is an activity in which performers create algorithmic processes in real-time that manifest as audiovisual experiences. The live coder is already accustomed to a configuration of relationships that include the fluid character of musical improvisation and remix culture, in combination with the identity of the computer musician as an improviser, collaborator, contributor, and commoner.

To explore these ideas further, we propose a live coding practice called "Serendipitous Liquidation." This practice involves repurposing, remixing, and reusing previously published creative code by different authors in live performances. This collaboration extends beyond the constraints of a single live performance or workshop, with code snippets exchanged and manipulated over longer timescales. Our practice embraces the concept of serendipity, which is the spontaneous and joyful discovery of meaningful data encounters and novel experiences. We use the term "liquidation" to describe the dismantling of valuable concepts and converting them into new forms with new potentialities. Our aim is to bring the dissemination of creative qualities (visual, musical, or linguistic) in code snippets to a diverse range of aesthetic contexts. We also adopt a decolonial stance towards hegemonic conceptualizations that drive artistic creation from modernity to the present. Additionally, we introduce the possibility of financialization in which the contribution value is captured by Distributed Ledger Technology (DLT) infrastructure.

As part of our investigation, we have developed a live coding practice that re-appropriates SuperCollider Tweets (SCTweets) and Hydra sketches. SCTweets are short pieces of musical code that are shared on Twitter and executed in the SuperCollider programming environment, resulting in various musical pieces of varying durations, sonic intensity, and complexity. This custom began in 2009 when Dan Stowell tweeted tiny snippets of musical code using SuperCollider. Many composers and computer musicians have since taken up the challenge of using SuperCollider to produce complex musical textures and sounds. The body of SCTweets represents a valuable resource of diverse computer music that can be appropriated for educational and artistic purposes.

Similarly, Hydra sketches are shared online through various social media platforms and can be visualized in a web browser. The syntax of the video synth is inspired by analog systems, where patching chunks of code together manifests visually. Hydra can mix camera feeds, live streams, and videos, modulate visuals through audio-reactive functions, and accommodate custom code through open-source javascript libraries. It can even interact between browsers with others online. While these live coding platforms offer ample opportunities for experimentation, there is currently no DLT infrastructure that incorporates them into a synergistic pipeline. Our hope is that by engaging in this practice, we can generate discussions and interest toward exploring this potential to integrate these live coding platforms into a DLT infrastructure.

The palingenesis of the labyrinth was putrefaction, an inexorable vortex spiraling towards complete disintegration of any figment of persistence. The labyrinth unfolds as a vein-like arrangement of veiled passages, confusing the realms of materiality and immateriality interchangeably. Wanderers claw their way through layers of the sarcous fabric. 
Dead fruits that tempt the eye but burn to ashes on the lips. Deterioration oozing through the cracks and shimmering through fragile layers of skin and paint. 
Their minds wander to a schismatic realm, guided by something that will not tell them the way. 

--

The sound work is inspired by the themes and concepts present in Jason Bahbak Mohaghegh’s “Omnicide” and George Perec's novel "A Void." The work is designed to capture the sense of absence and emptiness present in “A Void”, using sound to create a world without language and communication, and existential dread, mania as detailed observation and delirium present in “Omnicide’’.The work gradually builds in complexity, creating a sense of tension and disorientation. As the piece progresses, the sounds become more abstract and distorted, with layers of sound building upon each other to create a startling sonic landscape.The use of compression, distortion and simulated space through digital reverb creates a sense of emptiness and absence, suggesting a general loss or absence. The work incorporates elements of lamentation and mourning. The use of dynamics and timbre, of resynthesized sounds and voice synthesis suggests the loss and grief that accompanies the absence of language and communication.

A broken down petrol pump at first glance, it displays on its screen the swarming noise of a road transiting at 130km/h. By holding the gas pistol to your temple in a suicidal gesture, you can hear the dreamy murmur of the machine's dream. The petrol that is poured into your ears is the sound of a dream, of a journey, of a utopia. The dream of a dream. 
A sound, visual and interactive installation, a point of escape towards the infinite present.

The pump that has powered thousands of cars now also dreams of a journey. 
Like the image, the sound will imitate noise, or the signal of a lack of signal. Evocative of a standby state of an electrical appliance with loudspeakers, white noise will be suggested here by the field-recording : rain, ocean waves, wind in leafs, the edge of a motorway whose traffic will mark intervals similar to the visual lines crossing the image.

The video and sound creations could be interpreted as a kind of electroencephalograph record of the machine's sleep phases, which are measured not in Hz but in km/h. 130 kilometres per hour. 36 metres per second. 24 images per second.

The White Noise is the announcement of an imminent breakdown, a semantic non-essence or an ecological nonsense. The end of an era. The end of a signal. It's about pointing the finger at a world in crisis of essence and sense. Holding the gun to one's head to hear the sound  creates a strong image of a collective suicide. 

This same signal is also the beginning of a new era where machines are no longer automatons nor robots but are endowed with the ability to dream. From this machine, which we have learned to use until we no longer question it, an automatism has been transmitted from generation to generation: we have become automatons alongside it. We do not yet know where we are going, but the road is being travelled at the dizzying speed of 130 dreams per hour (of our ?).

https://vimeo.com/755629454

Is it possible to imagine other narratives of living? Can we imagine other ways of living among different species? In nature there are no autonomous organisms, we are all existing in various interconnected ecosystems. We make up different networks of mutual connections, collaborations, mutations and space-time exchanges as companions and in between species. From those exchanges, each is, by its very nature as a body, continuously affecting and being affected by other bodies as Spinoza said. 

Would it be possible then to stress and show up these interferences in sound as well as visuals? What is about listening to the Reishi mushrooms' bioelectrical signals and letting their sound affect the bio-electrical signals from the human brain? Some research showed that electrical impulses sent by mycological organisms could be similar to human language. The electrical signals bear a striking structural similarity to human speech. Maybe we can even share a conversation with them?

In this context, our project looks at a transition from ‘anthropocentrism’ to ‘biocentrism’. A kind of symbiosis where mushrooms need humans and humans need mushrooms to entail a common ground of communication. That’s what I identify as “Sound Laboratory“, a space where sound is produced as a constant conversation between physical & digital. It is in that liminal space where the distinction between human and non-human is blurred. The audible and visual network of humans and non-humans relations is merging into each other to form one shared body/entity/. 

PHASMR1 is an acousmatic piece that immerses the listener into a surrealist landscape. The piece uses the Sensory Overload Interface (S.O.I.), which is controlled by the Kinesthetic Instrument, a unique device that uses pressure sensors to map the artist’s touch onto the sonic output.
 
It is a composition of heavily processed and distorted sounds recorded by the microphone of the laptop running the interface, resulting in everchanging sonic textures. The listener is transported into an otherworldly space where the familiar is twisted and distorted, leaving only a sense of disorientation and mystery. It is as if the listener has entered into a completely different reality, one that is chaotic and unpredictable.The textures are carefully crafted, creating a richly detailed soundscape that unfolds over the course of the piece.

There are moments of stillness and clarity, where a single sound is allowed to ring out and reverberate through the space. These moments are balanced by sudden bursts of noise and movement, where the sounds seem to clash and collide with one another.

Quassine uses the Kinesthetic Instrument to control the parameters of the sounds, allowing her to build up layers of sonic material in a fluid and intuitive way. Tapping the screen, caressing the keyboard, and whispering in the microphone, Quassine creates a gestural language that is translated into sound. The result is a deeply personal sonic language that is imbued with a sense of spontaneity and playfulness.

At its core, the Sensory Overload Interface (S.O.I.) is a cybernetic system that enables the user to control the parameters of the soundscape being produced. This system relies on feedback mechanisms to ensure that the user's input is translated into the desired output. The Kinesthetic Instrument, in turn, acts as the mediator between the user and the S.O.I., allowing Quassine to manipulate the system through physical gestures and movements, creating a dynamic relationship between the artist and the work, blurring the boundaries between the two.

One of the key tenets of cybernetics is the idea of circular causality, which is the notion that cause and effect are not linear, but rather operate in a feedback loop. In the case of PHASMR1, this feedback loop is evident in the way that Quassine's physical gestures are translated into sound through the S.O.I., and how the resulting sounds then inform her subsequent actions. This circularity creates a constantly evolving system, where each action and reaction modifies the overall soundscape in real-time.

Cybernetics is fundamentally concerned with communication, both within and between systems. In PHASMR1, the communication between the user and the machine is achieved through a physical interface that allows Quassine to manipulate the system through her body movements. The resulting piece, in turn, communicates with the audience, eliciting an emotional response that is both visceral and abstract.

As we plunge ourselves in PHASMR1, we can feel the power of the Kinesthetic Instrument and the Kinesthetic Cybernetics. The sounds and textures that Quassine has produced challenge us to question the limits of human perception and the role that technology plays in our understanding of the world.
This piece invites us to explore the potential of cybernetics in shaping our perception and identity as posthumans. As we continue to blur the lines between human and machine, we must confront the ethical implications of such a transformation. How can we ensure that we maintain our autonomy and agency in a world where technology and biology are increasingly intertwined? How can we preserve our sense of self when our bodies and minds are constantly modified and enhanced by technology?

Playfulness regarded in the series “Red Walls And Entities” translates into the sound as I’ve selected the sounds from different aspects of his experiences ; his voice , the sound of cocoa seeds wrapped in nylon, the sound of a clock , the sound of Lagos (  breeze, movement of cars ,horns) and music created by using music mouse by Laurie spiegel ( provided my distro kid )

This media has been recorded during the series of performative events that happened in an abandoned harbour in Siberia back in 2021, before the war. Now I am researching this work to understand turbulent changes on both planetary and personal levels that happened since then.

Everything is a Loop. Just like the video, the music also loops. Just like our experiences.

In my new video/sound work, Didactic Mergers, Things r Happening, We r Aging and Here (7 mins, 2023), there is a collision of the animated and IRL. The first part is within a cute, vibrant, damask-ed fish tank world and begins with the main character separating herself from herself. She knows it is happening and whispers, “Goodbye self, goodbye self, goodbye.” That acute awareness aims to bring the audience in to let them know: this is ordinary. Other computerized voices rain in on top of a restless piano score and say things like: “I certainly have not wasted my time,” “the sound of cash,” “I feel pressure to use it,” “Do you read books?” and “self-worth and self-esteem,” while the character is being accosted from all sides by a shark. She looks at us post anxious radial blur, but we’re unsure if this breaking of the fourth wall is a call for help or simply part of the performance to the audience. I’m here. I’m ambivalent.

The repetitive parts of the script are meant to think through aging in the sex work industry from different perspectives and timelines. Embedded is a constant questioning of intelligence and well-being with a humorous nod to the ever-present point and abiding addiction to sex work: the sound of cash. 

Next, a man’s voice tells a short, succinctly misogynistic fable: “I would just like to tell you that I knew this man. He died. Everyone wanted to be around him. He had very alluring anxieties. I do not find your anxieties particularly alluring.” At this point, bad JPEG images of strip club wallpaper layer on the screen while the character turns to look at herself in the mirror in her empty home space. Men don’t find her aging anxieties alluring. Anxiety is only attractive, compelling, complex, intelligent, and charming when men are. A gaggle of menacing-looking, adorable sharks surround her, and she acknowledges that “in the end, I have you guys.” Ironically, the limbless character is thanking her club regulars for still being there, despite aging into her late twenties. In the age of Andrew Tate’s violent male e-gospel, the bar is low. Thank you so much.  

After, the video opens with a woman in a tight red dress on her bed from two different camera angles. Her room is adorned with makeup, a ring light, stripper heels, eyelashes, flowers, and sweets. The scene is as staged and synthetic as her hair and makeup, and if one looks closer at her computer screen, OnlyFans is open. Where are we in the timeline? Did she just finish filming for all of the internet to see? 

The sound is the extract of an audio documentation of the research installation ‘All tongues are moving, but we don’t hear them all’. 
A performing time-specific sound installation piece performing over five days. With material resembling skin in a metal pond transforming over time, ice is changed daily to melt from the ceiling. A sensor attached to the metal detects the water and together with hydrophones (waterproof contact microphones), the transformation of water enables sound. Each drop of water creates. As the water enters a dialogue with the surface and materiality, the visual and sound co-transform, when rust slowly appears and the skin looking material decays. 
At the beginning, the metal is clean and carries no water. Slowly over time as the ice melts, the amount of water grows, which changes the acoustics of the metal plate. When the water hits the sensor, the amount of water is measured and sending data to the sound software as a controller. As the acoustics of the metal changes, as the amount of water changes the data and as the skin looking material starts decaying and changing the watery texture, the sound transforms.