“paradigm of sensibilities balancing on the continuum of an axis”
The theories I am interested in are talking about the equilibrium in superstructures.
(axes / horizon / architecture / space and time perception)
Trying to be able to talk more comprehensible about “the structure of feeling” as a citizen in this built world now. Since it is evolved around an undefined philosophy it is rather a momentary emotion or experience than it is something fixed and static. Leading it to the importance of its presence that is perceptible as a constant motion.
Koyaanisqatsi is one single word that explains the many images of the 85 minute long documentary that talk about superstructures made in 1983 directed by Godfrey Reggio, shot by Ron Fricke and music by
It is the opposite of the napoleonic saying that one picture has a description of a 1000 words. The name comes from hopi-language and in the western language it could be described as “life in turmoil”.
Daytime. The poster is is representing a punched music box sheet that contains the first two meters of Philip Glass' opening score called after the documentary. At day you see the reflecting blue of the sky, and at night the red-lights illustrate the colour of the identity and the intensity of the burning visuals in the documentary.
The documentary is shot from bottom and from above playing with the horizons from different perspectives. In part "the grid" you see a
through clouds on a building.
And also on the
What I like is to watch the documentary in a
My fascination for movement and progression might also be influenced in how I grew up. There has been plenty of land around me and the view of a few horizons I could look at. There were rarely people, just grass and land. Although I was not satisfied because of my curiosity to what was behind those horizons. I got to the realisation that I like the meditative silence of my hometown alternated by a busy city.
NOBODY MINDS DEATH WHEN THERE IS ENOUGH SPACE
Photographer Ilan Weiss captured endless landscapes throughout Mongolia for the collaborative book project. The work shows the habitability of this country's citizens and talks about how things die and naturally decay in this beautiful lanscape. We came up with the title, coming from the book's text: “Nobody minds death when there is enough space, it is integrated in the landscape, it is a wrinkle.” The text is also placed as a continues horizontal line throughout the whole book on the horizon of each landscape running over a French fold.
“FROM NIL TO PEAK, FROM ATTACK TO SUSTAIN, FROM DURATION TO RELEASE, FROM SUSTAIN TO ZERO”.
The project I did during our residency at Sitterwerk, St. Gallen I called after the movement of the ADSR sound envelope theory of the happening of pressing a key on a synthesizer. While pre-researching the library area on Google Maps I realised how dead an image of a landscape is seeing it like this on the web. It is so static without any life visible. I wanted to bring back life to this static image presented on Google Earth View by capturing the X, Y and Z-axes of the Sitterwerk area to make movement in a three-dimensional space perceptible (in video and sound) on the web.
The URL is left as
at a watertower for Google Maps.
Three axes projected in the Farmhouse at the end of the residency.
I continued with a car drive, as we did in Switzerland but then in The Netherlands and serendipituously ended up at.
A typical fair, as I know them, are about repetitively and looping. It is a never ending carnaval of incentives. I captures 10 sec videos of chosen frames that contained a small fragment of several attractions and overlapped it with the recorded sound of the trip.
“movement and oscillation and the need to un-time”
The work I am making is containing an aspect of live progressing in image and sound.
(oscillation / loop / momentary / catharsis / (un)-time)
By trying this I want to relive an experience repeatedly with its emotional excesses (catharsis) containing a tactile release. Leading it to the importance of its presence that is perceptible as a constant motion.
HOW DOES THE BUILDING FEEL LIKE?
I continued testing and researching the Werkplaats´ building sensibilities with capturing image and making intuitive sound. This is something that I am still doing while making other stuff out of curiosity and for experiment.
Testing it from the inside out observing the surrounding.
Testing it from the outside in focussing on what happens inside visible through the windows only.
Before the DOC& screening I made a soundscape in the meeting room where you could listen on the ground to live synesizers.
LINE-UP RADIO 23.3
Reflecting on the research and adding of sensibilities to the WT building I continued making use of the radio and radio space (attic). Sarah and I organised a “launch” of the radio on the 23rd of March by placing the line-up with vinyl letters on the ceiling as a literal outline for where the piece will take place in the attic. The program was composed by participants that were interested and they performed their radio piece that night. On the
you can listen back and see the archive of live-radio shows.
Line-up announcement 23.3
The second radio show included
with projecting on the ceiling made by Susan. By tilting the projecting the attic was highlighted with light and movement.
Ceiling projection of the earth from space while making live radio.
Ceiling projection of the underwater world.
“WAAAGH, S-S-S-S-SSS, I EVEN HEAR THE FOOT-TRACKS”
For this years Speelplaats event I collaborated with Sarah to do an Arnhem based dérive inspired by
We broadcasted live voice and sound from WT building to the radio (digital). Participants could listen to this stream and do the unplanned journey through the nearby landscape. We selected and edited texts that were talking about the act of walking and the meditative aspects of walking and silence.
“Take a walk at night. Walk so silently that the bottoms of your feet become ears”
(Pauline Oliveros. “Native” from Sonic Meditations)
ALL AT THE END OF THE YEAR SHOW
My interest in the psychoanalysis catharsis of
is part of the EOTYS work I contributed. I made an A1 poster that carries “all that has been made” in one flat image. My motivation for this arrived from the term: abreaction and the catharsis of the spectator. Abreaction means reliving an experience to purge it of its emotional excesses (extend of the end). You let your overload of emotions out and release. (
envelope in sound). This counts for the maker and the spectator.
A surplus fixed as a silk-screened object to present all at the end of the year.
Part of the project and my interest, coming from a constant movement, progression and oscillation is talking about time and speed. Questioning time in relation to these aspects makes me want to un-time time we as we know. Starting with painting a
in the building without pointers or any time indication. How can we un-time but still experience progression in a momentary state? And what does this mean to this specific location?
Adding our intepretation of time to the WT building by adding a time-less and therefore illegible clock."
with Sarah Cleeremans
FREED FROM TIME BROADCAST
Next years ideas are to bring broadcasting, especially live-broadcasting in. The ability to show work in a momentary that will be shared with a real-time public. Trying to get to the sincerity of a live-act/performance and the vulnerability of this. With radio as a starting point for live-performativity.
Yves Klein said he saw his work: Monotone-silence as “having neither a beginning nor an end,” a creation “freed from the phenomenology of time.”