Ear in the gardens of Silence, side streets
⎮location based sound composition + poetry + book on paper⎮2014 - 2016
The book on paper and chrono-space sound book Ear in the gardens of silence, side streets ... Maribor.
Poetry, performative sound pieces and radio interventions (radio
aporee) evolved between summer and winter, photographs were made in
spring at the same locations and at different times (2014−2016). The sound composition is based on the initial sound work, using radioaporee ::: miniatures for mobiles.
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
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.
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 develops a 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.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.
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?!