Carsten Nicolai & Ryoji Ikeda
cyclo.
2008
“cyclo. is a collaborative research project by Ikeda and Nicolai which focuses on the visualisation of sound. The artists are developing a database of sounds that they are composing for the visual responses these produce when analysed in real time using equipment developed originally for phase correlation in mastering vinyl records. With such stereo image monitoring equipment, the phase and amplitude of stereo signals can be illustrated graphically.
The audio elements have been constructed and chosen through agendas concerned with the minute editing of frequencies (often beyond the physical range of human hearing) and the perceptual amassing of audio elements to an undefined point.“
[x]
cyclo.
2008
“cyclo. is a collaborative research project by Ikeda and Nicolai which focuses on the visualisation of sound. The artists are developing a database of sounds that they are composing for the visual responses these produce when analysed in real time using equipment developed originally for phase correlation in mastering vinyl records. With such stereo image monitoring equipment, the phase and amplitude of stereo signals can be illustrated graphically.
The audio elements have been constructed and chosen through agendas concerned with the minute editing of frequencies (often beyond the physical range of human hearing) and the perceptual amassing of audio elements to an undefined point.“
[x]
❤6
❤5
“Sounds are both temporal and spatial. As we converse with a partner, there is space between us created by the sound of our voices and the proximity of our bodies.
The sound of the conversation can radiate out of the intended intimate space and be heard by others not necessarily included in the conversation. The intimate dimension is overlapping with a more public dimension that we may or may not be aware of. We can hear the dimensions of the space consciously and unconsciously.
Simultaneously we may be taking in other dimensions — a dog barking outside, other conversations in the same room, passing traffic and so forth. Our global attention is engaging with numerous overlapping dimensions created by sounds.
[…]
Listening also may have a kind of secrecy about it. One can listen to others without their knowing it. This is true of radio broadcasts or conversations that happen in a public place, or when someone chooses to listen surreptitiously to a private conversation (to overhear).”
— Pauline Oliveros, Deep Listening: A Composer's Sound Practice
2005
The sound of the conversation can radiate out of the intended intimate space and be heard by others not necessarily included in the conversation. The intimate dimension is overlapping with a more public dimension that we may or may not be aware of. We can hear the dimensions of the space consciously and unconsciously.
Simultaneously we may be taking in other dimensions — a dog barking outside, other conversations in the same room, passing traffic and so forth. Our global attention is engaging with numerous overlapping dimensions created by sounds.
[…]
Listening also may have a kind of secrecy about it. One can listen to others without their knowing it. This is true of radio broadcasts or conversations that happen in a public place, or when someone chooses to listen surreptitiously to a private conversation (to overhear).”
— Pauline Oliveros, Deep Listening: A Composer's Sound Practice
2005
❤1
“[…]
What I did not know when I was very young was that nothing can take the past away: the past grows gradually around one, like a placenta for dying.”
— John Berger, from And Our Faces, My Heart, Brief As Photos
What I did not know when I was very young was that nothing can take the past away: the past grows gradually around one, like a placenta for dying.”
— John Berger, from And Our Faces, My Heart, Brief As Photos
❤5
John Berger
After “Madonna of the Pomegranate”
2000-2010
From the brochure “John Berger - Permanent Red”, Centre de la Imatge, Barcelona
[x]
After “Madonna of the Pomegranate”
2000-2010
From the brochure “John Berger - Permanent Red”, Centre de la Imatge, Barcelona
[x]
❤12
THIS TOO
This too is your lot: to witness bitterly lewd silence
and just at those moments when only the Underworld knows
what a woman dares before a man decides,
both right in the middle between the fallen tree of youth
and the excrement of an old age.
This too is your lot:
bitterly to witness the adulterous lechery of music, exactly at those moments when, she, pushed into her crotch,
thrusts forth her breasts
so as to sough then from her nefarious mouth
through the wall cracked by Agamemnon's fall to you…
Vladimír Holan, This Too, from Walls, trans. Josef Tomáš
This too is your lot: to witness bitterly lewd silence
and just at those moments when only the Underworld knows
what a woman dares before a man decides,
both right in the middle between the fallen tree of youth
and the excrement of an old age.
This too is your lot:
bitterly to witness the adulterous lechery of music, exactly at those moments when, she, pushed into her crotch,
thrusts forth her breasts
so as to sough then from her nefarious mouth
through the wall cracked by Agamemnon's fall to you…
Vladimír Holan, This Too, from Walls, trans. Josef Tomáš
WHERE DO WE GO FROM HERE?
Does dance depend? Or is it independent? Questions that seem political. They arose in an aesthetic situation. What's to be said? People and sounds interpenetrate.
We thought that sounds took place in time. We see they're vibratory movements of particles in air. Each one, setting out from its point in space, gets to all its arrivals from a single departure. Thoughts about time drop off like dead skin. Dance takes place with one foot in the grave. "Dance or I'll shoot"- each time the curtain goes up.
John Cage, from A Year from Monday: New Lectures and Writings, 1967
[x]
Does dance depend? Or is it independent? Questions that seem political. They arose in an aesthetic situation. What's to be said? People and sounds interpenetrate.
We thought that sounds took place in time. We see they're vibratory movements of particles in air. Each one, setting out from its point in space, gets to all its arrivals from a single departure. Thoughts about time drop off like dead skin. Dance takes place with one foot in the grave. "Dance or I'll shoot"- each time the curtain goes up.
John Cage, from A Year from Monday: New Lectures and Writings, 1967
[x]
❤2