Aargh

For my resideny at Overtoon, I propose a site specific installation, xXx( workingtitle), which deals with time and perception of time.

What follows are a few things which inspire me. A few ideas about the relation between technology, art, time, sound,... which I think are interesting to explore during my residency at Overtoon.

• Douglas Rushkoff's 2012 Book, Present Shock,
• The Art of noises, by Luigi Russolo,
• A Speaking Machine by 18th century inventor Wolfgang Von Kempelen
• A quote by Baudrillard
• Untilled, Pierre Huyghe's contribution to Documenta Kassel

Voicing

Here I'm collecting information about what I call voicing : different experiments in which I try to copy the function of the vocal cords.

Cavity resonators

One experiment was based on information I found on Godfried Willems Raes' logosfoundation. For his work Whisper he used cavity resonators to produce sound. These small cavities with orifices on both sides are somehow like Helmholtz resonators. Because they can be driven with air at low pressure, I thought it might be an interesting solution to produce sound driven by the wind working on the facade of the building.

I constructed several shapes based on information I found on his site. His works are always super well documented.

Resonators

From the book : Present Shock by Douglas Rushkoff

"People have spent a great part of the 20th century obsessed with the future. We were looking forward. The rise of the digital age held the promise that the future would bring change of unprecedent magnitude, invigorated by new technologies. Computer speeds would double each year, and along with that, it seemed, anything would follow.
The future has arrived. The future is now. Our society has reoriented itself to the present moment. We are no longer leaning forwards towards the future but living in an eternal present, where everything is always on and happening in real time. It's not a mere speeding up, however much our lifestyles and technologies have accelerate the rate at which we attempt to do things. It's more of a diminishment of anything that isn't happening right now - and the onslaught of everything that supposedly is.

Yet this now is an elusive goal that we can never quite search. And the dissonance between our digital selves and our analog bodies has thrown us into a new state of anxiety: present shock.

As a result , our culture becomes an entropic, static hum of everybody trying to capture the slipping moment.

Luigi Russolo, The art of noises

Rushkoff is referring to the 2 decennia before the change of the century. The rise of the digital era. But this same view of a future, energized by new technologies, is what drove the futurist at the end of the industrial revolution.

roars claps noises of falling water driving noises bellows

whistles snores snorts

whispers mutterings rustlings grumbles grunts gurgles

shrill sounds cracks buzzings jingles shuffles

percussive noises using: metal wood skin stone baked earth ...

animal and human voices: shouts moans screams laughter rattling sobs

Russola's intonarumori which hold energy potential power promise <---> view of rushkoff about influence of technology on modern day society.<--> what would this sound like now?

Russolo categories of noises contain human like sounds --> the idea that they could be be mechanically reproduced by machines --> Von kempelen. <--> intonarumori

Speaking machine by Von Kempelen

This 18th century's Austrian inventor Wolfgang Von Kempelen is probably most famous for his invention of the mechanical Turk, a chess playing automaton, a far reaching and elaborate hoax. The story goes that he invented the mechanical turk to impress Maria Theresia, Empress of Austria, to give him the money to work on a manual operated speech synthesizer. While it took him 6 months to finish the mechanical Turk, he spent almost 20 years to develop a functional model which he considered a representational model of the human vocal tract.

However primitive this might have been --> model can only reproduce a few words --> right approach in building a resonator copying the shape of mouth and nose --> not the larynx which produces different sounds.

http://en.wikipedia.org/wiki/File:Kempelen_Speakingmachine.JPG

Jean Baudrillard, America

"There can be no silence up in the mountains, since their very contours roar. And for there to be silence, time itself has to attain a sort of horizontality; there has to be no echo of time in the future, but simply a sliding of geological strata one upon the other giving out nothing more than a fossil murmur” [America, Jean Baudrillard]

Pierre Huyghe

site specific installation for documenta kassel in which fiction and reality seem to blend, artefact and natural artefact and nature

baudrillard <--> search for sideral

The individual's ability to get a handle on the present - to experience duration, to resist the condition of time as product, ...

A time negotiated in keeping with external constraints. A fiction extended into reality. An alternate coding of temporal practice. ....

Mechanisms for reclaiming time, as it is live for the individual

The agency of the individual by working through the infinite interpretations and folds of reality that are possible at every moment, p 2 - A fiction extended into reality. p1

Site specific setup

For my overtoon residency I propose a site specific installation, to be installed on the 11th floor of the high rise of which overtoon occupies the 9th floor. The main element I would like to use. is buildings stands out in the Brussels skyline. Wind has free.

what the effects are of of this energy and force can be used.

Winds hitting the building and will cause pressure on one side and suction or a vacuum on the other. Depending on the direction of the wind. I would like to use this energy and forces of the winds which will have it's effects on the interior...

junk

This is the new now. Our society has reoriented itself to the present moment. Everything is live, real time and always on. It's not a mere speeding up, however much our lifestyles and technologies have accelerate the rate at which we attempt to do things. It's more of a diminishment of anything that isn't happening right now - and the onslaught of everything that supposedly is.

People spent the twentieth century obsessed with the future. We created technologies that would help connect us faster, gather news, map the planet, compile knowledge, and connect with anyone, at anytime. We strove for an instaneaous network where time and space could be compressed. Well, the future's arrived. We live in a continuous now enabled by twitter, email and the so-called realtime technological shift, Yet this now is an elusive goal that we can never quite search. And the dissonance between our digital selves and our analog bodies has thrown us into a new state of anxiety: present shock.

As a result , our culture becomes an entropic, static hum of everybody trying to capture the slipping moment.

when things begin accelerating wildly out of control, sometimes patience is the only answer. press pause..

instead of cultural comparison the dessert offered an absolute renunciation or sweeping away of culture

People spent the twentieth century obsessed with the future.

time perception of time,

"The future is now rights. We have spent the end of the 20th century being obsessed with the future. Looking forward. But now this has arrived. That is in short the gist of David Rushkoff's 2012 book : "Present Shock"

The individual's ability to get a handle on the present - to experience duration, to resist the condition of time as product, ...

A time negotiated in keeping with external constraints. A fiction extended into reality. An alternate coding of temporal practice. ....

Mechanisms for reclaiming time, as it is live for the individual

==

Tijdens mijn residentie bij overtoon, wil ik een in situ werk ontwikkelen voor het torengebouw waar overtoon gevestigd is. Meer specifiek voor de 11de verdieping. Deze oude kantoorruimte wordt door het collectief W.O.L.K.E. als tentoonstellingsruimte beschikbaar gesteld. Tijdens een vorig project dat ik realiseerde in deze ruimte, viel me op hoe bijzonder onderhevig deze is aan de invloed van wind op het gebouw. Horizontale wind veroorzaakt vóór het gebouw een overdruk en naast, boven en achter het gebouw een onderdruk. Tijdens mijn residentie bij overtoon wil ik graag de mogelijkheid onderzoeken om die energie te meten en/of te gebruiken in een in situ klankinstallatie.

Centraal in dit nieuwe werk staan tijd, perceptie en de beleving van tijd. Thema’s die ook aan bod kwamen in mijn voorgaande installaties. Ik wil die thema’s verder uitdiepen in deze nieuwe installatie en vind hiervoor mijn inspiratie in onder meer :

• Douglas Rushkoff's boek : “Present Shock”

Volgens de Amerikaanse schrijver Douglas Rushkoff heeft onze maatschappij zich onder invloed van de technologische ontwikkeling volledig geheroriënteerd naar het nu. We leven in ‘eeuwig nu’. We verkeren in een soort van ‘Present shock’ waarbij we krampachtig trachten het nu te beleven.

• The Art of noises, futuristisch manifest door Luigi Russolo,

Wat Rushkoff beschrijft staat in een schril contrast met de ideologisch visie die Russolo in zijn futuristisch manifest verwoordde. De vraag stelt zich hoe zijn Intonarumori vandaag de dag zouden klinken, 100 jaar na het schrijven van zijn manifest.

• Wolfgang Von Kempelen

Opvallend aan Russolo’s manifest, is dat hij bij het categoriseren van nieuwe klanken, ook menselijke klanken een plaats geeft. Hij was er dus wel degelijk van overtuigd dat hij aan de hand van technologie menselijke klank kon reproduceren. De 18de eeuwse uitvinder Wolfgang Von Kempelen was een van de eerste die een sprekende machine ontwikkelde. Een toestel dat via een blaasbalg en een riet enkele woorden kon vormen. Hoe eenvoudig zijn toestel ook was, Von Kempelen toonde er de principes van de die, en legde hiermee de basis voor synthetische spraak.

• Untilled, Pierre Huyghe’s, Documenta 2012 Kassel

Tijd is een weerkerende thema in het werk van de Franse kunstenaar Pierre Huyghe. In veel van zijn projecten onderzoekt hij de mogelijkheid om als individu vat te krijgen op het nu. Om tijd opnieuw te beleven of ervaren als ‘duur’, onafhankelijk van enige conditie van tijd als product. Zijn installaties zijn mechanismen om tijd terug op te eisen.

• Jean Baudrillard’s boek, America

“There can be no silence up in the mountains, since their very contours roar. And for there to be silence, time itself has to attain a sort of horizontality; there has to be no echo of time in the future, but simply a sliding of geological strata one upon the other giving out nothing more than a fossil murmur”

The agency of the individual by working through the infinite interpretations and folds of reality that are possible at every moment, p 2 - A fiction extended into reality. p1