Metralla Rosa with Oliver Gingrich - Ep 03

Metralla Rosa with Oliver Gingrich - Ep 03

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Welcome. To our space were talking about the inspiring things with inspiring, people is what inspires, us. Waiting. For you here are the infinite. Possibilities the, creation, collaboration. And collection. Have to offer a. Universe. Will receive everything, through, browsing. The spectacles. That help us to keep our, faith, in the power of imagination, alive. And, well. And, now let's. Talk. Hello. Welcome, to Metta Rosa today we are going to be exploring, visual. Digital, arts, with london-based. Artist. Oliver. Gingrich, he, is here, with us to, talk a little bit about. The. Narrative, of visual, art and his communion, or, relationship. With technology thank. You so much for joining. Us today and, for a. Subpoena. Or invitation. To talk about these that sounds, really, really, interesting. But before. Getting to, any particular matter. I would. Like to go very general, and ask, you, what. Do you think is the real power behind. Technology. And why is, it so important, in. Not. Just in our normal, lives for, everyone, in modern, society. But, especially to. Her to be very aware of it in the territory. Of the Arts it's, a really good question I personally. See, technology if it is an enabler, as a facilitator, it, also is an extension of self increasing, me so mm. Maybe. 50-100. Years ago technology was always seen as separate, it becomes. More and. Ditchley. A prosthetic you know a, part of us and as, that I think it needs also play a role in the arts and. For decades, I mean literally. I mean in, the contemporary, art scene technologies. Sometimes, a little bit overlooked, and when. You go back in history that. Da Vinci and. Other. Artists, of the Renaissance technology. Was always, part of the artistic discourse, part of this idea of creation and innovation, future. But. Also presence, and that's. How I like to see technology. In. In the context of art something, that analysis. To reveal. Things to unlock, possibilities. To, show. Things that we maybe couldn't, show with no, means, and. Technologies. Idea of techno. Something, that is. Logos. And it's, always a bit about power. It's, a bit about this. Idea of. Something. That can be done, that can that you can create. And. The others that's what fascinates me about technology. And you, start. You started, your studies, in London, in San, Martin as fine. Arts studies and then you need a master, in digital media. And. It. Goes all the way back to Vienna I actually started, without in technology, so that's my training, my classical, training if you so on and digital. Art as it was called back then with the University of Applied Arts in Vienna when people. Are yeah and I always worked, with visual, technology, so when I was, even. In school and I said to help to, assist artists, I'm to the projection, work and quite. A lot of large-scale protection, out of projection, but also in, those and. Very. Often related to newsing and to sound and. Then when, I moved. To London I tried to focus a little bit more classic. Contemporary, Arts and that's what I did my master Fine Arts at Central Saint Martin's okay, and Emma came full circle and, finished my doctorate, in and digital. Entertainment so, that is an engineering, doctorate, so quite technical, actually, but. With the focus on only arts if you serve on Sony I'm, entertaining. Elements. Of the arts it was quite technical, quite, a bit of a focus on engineering. And, programming. I'm. Kind of a technical angle on, visual. Media forms, why. Do you think in general all, people, that. Feels very. With, the language of, visual. Things. Somehow. They feel, that, technology, can, offer a lot of freedom but at the same time it can be also very restrictive. Or very specific. And. Now. That you were mentioning that, you started, doing installations, always. Related, with sound or space, or light you how, can you be even further, when, you were with, technology, considering. That we feel, that, technology, could be anything, and, could open, so, many. Interesting. Even, unknown. Possibilities. Have you started imagining, things, that, you would like a, little bit like a sapphire.

Science. Fiction, have, you started to exploring. Things a little bit less related, with the, possible, and more related, with their, apparently. Impossible. I, mean, I'm, I'm very interested, in in this cusp of technology. And and the, limits of veterans, to push that I think this idea being. A bit of a pioneer and trying yeah. Could. You could be a Julia where. Sometimes. This pioneering spirit can be true Revere at a conceptual level that, it's just an idea that has been unexplored, and sometimes. It's technical, and practical and, you're just fascinated, by the, possibilities, of machine, learning other, possibilities. Of galleries. And how you can create the. Visual, imagery the purely, created by machines and to, push, that and I can't be an expert at everything so I'm very often this this, idea this interest, is really driven by a conceptual, angle so it's more about which, questions, can we ask that haven't really been asked and how can we do that on a visual level so, that it is interesting, yeah. And. Somebody. Was exploring, the art and, so, an audience, but also well. I'm really interested in is too sure that the, audience almost becomes kind of a co-creator, of the art piece and by them. Engaging. With it, they almost, create. Their own little version of the. Artists okay so, now we should. Now. That you mentioned, the experience, of the audience when, when, you have had already the experience, of creating things, related, with installation. And very, immersive. Shows. You. Work with an analemma. Which. Is a group, a collective, please, tell me about a little, bit of the world with you deed at the Tate the. Tate exchange, that, is an open, space to, actually bring. Community. And, our. Possibilities, all, together and I think, is one of the more interesting things, that tail is doing at the moment because, its opening, at least a space for new artists to get engaged with this big institution. Super. Well known around the world so, please if, you can tell me how, is the experience of, working with others because, sometimes, technology, can make you very solitary, in, your approach, to, things or your process, a little. Bit because it makes you feel very independent. And you can do anything, so. How, is work with others, why and. My. Friends at Kenneth's and I. Think from the very first project. That cheated. I mean there was there, were two partners she did will help me and but. I was always involved and always kind of 7/7, heard the fringes and then, when. I started. With my doctorate, initially. We were thinking. How can we collaborate and, do something that is interesting. For everybody and I. Was telling you I've got quite a bit of an a background. In, visuals. And sound and still intersection, between that. Needs to Steve, and. And. So, that's also understand, tightly, in. Our, small, family of analytical, members dr. Horner, and so, the three of us he is really coming from really massive sound and July. Of three we're, actually, not. I'm. Putting, the projects underway and like, to see the pariah and also. My happiness to create. What we want to do an, anemic approaches seem to be quite technical. Quite complex, and so very often we work with experts and and different. Experts in different fields to, create, what we are setting out to do and in. The, case of this particular project and key it's. Been a ten nine ten year long journey of looking, at visual sound, from. Okay. Wow. That's. Really amazing. It's. A very vast theme so I mean there's so many different intersections between these two senses, and both, sound, and vision they have so many different elements to, it and you can look at both and, phenomena. And from, various, different and positions. In, terms of how, you play, with sound how you how you create sound how you perceive, it and but, also on a visual level and. What. We were doing is we were looking at the phenomena from a. Mathematical and. Purely, mathematical, angle from a physical, angle and then also from a creative angular and from the, era of perception, so we tried to find a lot of different approaches. Under much depended on, the project.

So Yeah throughout this journey there's, been a lot of different iterations and what. We're always trying to do is to create an immersive experience and. For the audience where the audience is not just a bystander but, they really become part, of the. Creation process so, they're actually creating. The piece with us and in, conjunction with us okay so let's, explain, to, everyone, kima, noise it's this experience they, created. To present. A detailed, exchange. Which is this amazing space in. The, same building of the Tate Modern, you. Have already done it they don't eat this coming out so in, September you didn't had seen so, this was a precursor, it was okay if you survived the big exhibition, is coming up in November this, from the 20s to the 24th, of November, it's the Tate Modern and, it's, the teen exchange space and, which is on the fifth floor and every. Day there's gonna be different programs, with the talks we've got a workshop with good performances, planned so, it would be very likely. There's, a lot of different things to experience, very vibrant, as, a proposal. Brand but. The. Idea is to create or recreate, sculptures. Of sound, is it correct is it that correct, it's correct okay, and how, did you do that. Actually. The. Audience is doing it and that's the beauty because alou inviting, the audience to create their own drawings. Perceptions, of noise I should, probably go back a little bit so noise. Is, I've. Annoyance is affecting, us all and lots of different levels and we've, been working for two years now with the research report professor, Stephen Stansfield, he is one of the key experts, in the field system. The. Major studies for the, World Health Organization. And. You. But, also for runaway, expansion for instance and so he's really a key, medical expert, and also. Psychological, expert on how nervous affects us and our, ally in our mental. Health our well-being and, but, also very, simple things like social, behavior how, react, when. It's very noisy people get irritated they help each other less and our. Attention decreases, so when it's very noisy obviously, we can sleep, less and it affects our concentration. Ultimately. Also how we perform at, university, or at work and, noise. Can also affect. Us physically, so if conditionally, affect our hydrate, and with, that it can affect um. Diet. What. We eat and whether it can lead, to diabetes but. It can be extreme, cases any shape of our, appearance I mean I. Would, be on cloud, physical. Yeah I think it's more something that it has something to do with my, being so it's more of an internal, thing rather. Than an external. Factor. It, does definitely have some. Sort of repercussion on, how we behave with one another yes. Thank, you do you have a negative. Perception. Of human. Noise because, you, can approach human, noise from, a positive perspective, as. Exciting. And stimulating as. Completely. Challenging. But. It can be. Really, right from. A negative, perspective what, what do you think is in general the perception, of people and the, perception, for, example these these, people very very, trained. On the field and they, really, know how. Is. It if it's positive is it negative I don't think there's a simple answer no I do I am I completely agree with you and I'm actually a bit of advocacy. I have a loose in this case because I am. Kind. Of a very human, person, and I feel very stimulated. I, love. The noise I cannot sleep when it's acquired when it's really quiet outside I get I'm irritated. I can't really sleep that well and I, need, sirens.

And People shouting on the street and it's what keeps her it's almost like the block that runs through it I've always lived in big cities as well so, that's probably part of it but so the reality is I've. Been nice doesn't, need to affect us it only affects us if we feel that we don't have control over it and it's quite interesting so if we, feel that you. Know that's it's just don't know easy but there's nothing I can do about it I can't just get up and close the window or I can't, put some music on or, people. Just Kennedy, when detached from me then. Then it affects you because I remember, what it was I, used. To live in a penthouse. Building, last, floor and the. Knowledge of the. Machine. Of the lift. Was. Always, present but I didn't notice it until, someone, coming. Out which, was, coming and then, saying how, can you live with this sound, which. Sound I can't. Listen any sound because i somehow. You can. Also be touched from you can fling the sound but not everyone, can do it there's people that feels, like it's a torture, actually. Being in a situation like that no I think wiki, is that you, need to be I think virus, is the word so I think being aware of every noise and it's a factor, that you it's not something that happens subliminally, but something that you is is there that you acknowledge and, as soon as you're aware not only of that it is not as but also what it is and you don't feel as you said detached from it but it's just part of your environment, mm-hmm. It's, less it's less invasive, and it's but the key factors really control so and as, soon as you feel and that study, is not amazing yes there's much and. So. Much. But. The studies show that um if you have control then suddenly you changing, the dynamic, and it. Doesn't affect you it doesn't affect you physically as much it doesn't affect your behavior as much and I, think what we want to do with this activity of the Tate to start, a disco so that people become more aware okay.

Create, Awareness, around. Noise, more, than. A negative. Sense. Of how. Noise. Makes. Us unhappy. That's. Good I'm the. Whole situation, how, how, is going to be experience, for the people for all that they are going to join you the the experience, so um it's, a it's actually quite a minimum. Very beautiful, installation, so. Imagine. It's a peace flow of the teeth exchange, sort. Of petit modern so nice views in all directions and, what, we're working with this were creating an immersive environment, where the audience is invited, to come in and experience as noises from around the Tate no, really. Oh if, we're real time okay, so it's being streamed in from stations. Outside, oh wow did a lot of different, noise. Boxes, and will be capturing the sounds in real-time and feeding them into the space and then, we have a very, immersive, sound, spectrum. So it's a three dimensional, array. Of speakers it is so on and the audience is invited to draw their own perception, of noise, where are they going to be drawing in a special sort of a. Imagine. You. Ask. You if, you, think of noise what shape comes into mind you can literally just draw a shape and this. Shape is then being animated, as a three-match. Not caged Harborside, sculpture, and it's. Really quite something because, you feel this noise traveling through the space and suddenly it's, something that you can shape you know if you literally. Shape. Into position and it does change its characteristics. And it becomes really something that is I mean just, there and a little bit new, isn't too something that is exciting, and if you have physically, control over that you somehow. Very. Spontaneous. And an. Experience. That it cannot. Be repeated just unique, every. Second, on those, moments will, be unique. Are, you going to be documenting. The, recording. It to to, keep task, of the experiment. Yes so there's actually we're planning to do a film which is the chemo noise film and it's. An, art film that has been in development already. So I mean we started with the activity in September, and this film is now going to be an extension, if you're so on where, I'm recording, not only the installation, itself that's going to be a visual element, to where you see different, perceptions, of noise animated, in real-time and responded, to this against, the beautiful backdrop, and after window certain data Xchange so you see the whole sky Dalton, animations. Of noise around you it'll be very beautiful I'm also. Doing interviews, with the. Local community, so with people who are living in your area and who exposed to as a lot of construction happening around them and we want to hear their stories we want to hear how they, think about noise it to think about it and if, it affects them if, it affects them we have to do something about it what do you think they could do to improve it and to, just start to discuss and to we've, kind of a larger story and as you said some, some, and. Awareness. Building. Activity. Ultimately. And. Why I'm curious what kima what why. Actually. The Greek, word creamer.

Means, The weight in Greek, and we. Started to work with visual, sound we were looking at cymatic, patterns so. It's the same food etymologically speaking, so. I'm, cymatic. Comes from the word kuma kina and. That means the wave and somatic. Patterns are these patterns that you see when. You have runyan of any kind in US after sex and and and, you pump sideways. Through it you, will see beautiful formations, which, would be in Visual Sound and that's, the physical phenomenon is, absolutely. Fascinating and, in. Physics class maybe you tried it and a lot of schools. And try, out how, visual. Sound could look and what kind of patterns would emerge and at, the very beginning of the project we, tried. To recreate this pattern, ways and I'm looking. At mathematical, formulas, waveform. Equations, and how to link. Sound and vision can. Come and write a deep understanding how. The to interconnect. Because, they do have. You tried these already. I mean. Without people, but trying, the. Actual. Experiment. Is being done already for you in the same. Space. With. Novices in real time, and. So, yeah, we've been able so we've been and very rudimentary experiment. So we're trying with. Start. And with. I'm sorry and was also sitting in, ferromagnetic liquids. And with all sorts of materials, to create these physical, waves and. That was fascinating and, actually. Now we moved on and what we're doing now is a big mystic, a bit more crazy yeah but I was asking, if you have already had the. Opportunity. To try try the experiment, on because, I'm curious to know if these sounds, somehow. Relate, to musics, if they can be. Experience, a. Musical. If. It a little bit like that or not so, is. An interesting question we're, trying definitely, to create escape so and his sound and I'm if it feels almost like a almost, a composition, of noises and yes so yeah that's, that could, be, very. Yeah. For, the audience, a very, alive. Creative. Experience. The one. You, are taking, part of it. And at the same time it can be very. Amazing. Like, it really really, takes. You to another world, because, all these, noises you, experiment, them in real life if you are on the street in a way but inside, of that room is going to be experience, in a very different way. I'm. Wondering. If that it. Is an art installation so, it is not a musical, experience in itself but, it is a sound art experience. And as, that it really, creates, it it, creates a new connection between the noises around us and you. As an, audience and that, I think is almost it, really changes your your connection. With noise and that's what I really like about the project so yes it was a it's, a beautiful sounding experience, because these noises they, they change the characteristic, from just, a motorbike. That drives past or something that you, can operate with it becomes almost a music instrument its own right that is happening that, you have a bit of control over but, then also not, as much. We're. Also doing is we'll be realizing. Different. Soil sound levels what is um with, noise what really starts to practice either disabled, so there's, certain thresholds, um as, soon as noise, becomes, too. Noisy I too, loud and, it recites the factors more and these are very simple thresholds, from 50 DB to six CDP from 60 DB to 70, and so, we're visualizing, some, of these complexities. And, also um some. Of the the, characteristics of, noise and that becomes a quite a holistic, experience and. I think quite. Um hopefully. It changes. Really how, to. Think about about, noise and taking. With, it one. Of the things I found fascinating and, very very interesting, is that even, these, kind, of new experiences, are, creating.

New Worlds, new ways to refer. To things for example when, you say sound. Landscapes. Or s, cultural. Sounds. Or this. Connection, between the, possible, the. Possibilities. That exist. Between. Sounds. That we assumed, as invisible. Visible. Experience. Or visual. Experiences. Are. Not just creating, the experience, but also Wars. And a whole new. Linguistic. Amount. Which. Is is, it's probably, very poetic, at the same time and it allows, us to. Give. Another. Dimension. Of understanding all. These things one thing is experiencing. It and I know that he's thinking about it which. I think is, a. It's. Very valuable, as, valuable, as the experience, itself, are. You aware of that absolutely. And we've been doing a lot of writing over. The years about. The project not just kim annoyance but also the other iterations, of the project and it's. Interesting, to see that were not operating, in a vacuum we were the only ones dealing with visual sound experiences. And increasingly. And it's. As you said the whole thing glitch emerging a new vocabulary imagine. With people who are unclean. With visual, sounds in different ways and I'm. Talking. About how sounds go crews and. Some. Sort of them I think if. There was a tactile, a physical, attentional. And phenomena. To it and yeah. It's, it's not just but, we're talking about it it is because these, wells as you said they're also enlarging, on a physical level so part, of what we're doing at the Anteaters. We want the, ordinance to feel these, noises also in the body and very. Deep frequencies, you can really feel so one room will be dedicated, just to that the, others will be able to go, in and physically feel these sound waves in real-time and, however it effects them and these low frequencies, obviously not too, much so yeah, do not create anything, that could be. Disruptive. For people, right because that can happen also. It's. It's a it's, a, delicate. And can, be also dangerous. Territory. Terms you to be in too much without. Absolutely. Certainty. Of why are you gonna find there. But. I also was thinking about. The they we, live in a society so. Visually, oriented and, it's. In. A way we. Again, they advocated. Devil. Do. We need to really give shapes, to, our sounds. Is it that important. Or he said it'll be going. Playing. Too, much with this need of, making. Everything. Visual. Everything. Striking. From to the eye to. The to the eye perception. I have. To say I am I here, with you what, you saying but on the other hand I really. Feel it allows us to gain a deeper understanding we're. Not trying to just. Create. A new. Kind. Of. Artistic. Genre, what we're trying to do is to widen, the, scope of perception, of how people think of that sound so I think that's a dis that's the intention and obviously. It that's not it's, an educational, project it's an artistic project and but. There is something that through. The engagement with um you, know a visual sound interface, that, happens, that allows you also.

Allows People who might not have any. Access, to this, world, of sounds, world of music. And musical. Vocabulary to. To, came a little bit of a. Deep understanding so, for, instance and when, we started the project with it two, installations. Strain, sedation's with the tech community. Which. Allow, deaf community, to um. Kind of see. Sounds. And also, feel sounds, through these deep frequencies, for instance I know was that house, it's, amazing, absolutely incredible, because it, was just on. A, very Amina, I hope so fast it was amazing because we learnt about because, obviously I see sadly, I mean it's sometimes, you've, almost preconditions. Depending, on which I know you're coming from and so for, me and really open, a new. Spectrum it, allowed me to understand, sound, you. Know. Deeper. I guess yeah but, um did. This this was maybe an extreme example but I think um me, for instance I'm not a musical password, or a, very. Visual person so. Visual, arts and I'm coming. From the other music was always everywhere, but I had a real difficulty, understanding what, harmony, is but, how, frequencies. Work with the differences, between attacks. And. Energy. Envelopes, and um yeah, the different characteristics of sounds. Are and I. Feel I learned a lot in the process and beauty, is through. The engagement with these, visual. Sound interfaces. And and. It sounds very technical it's really not an interface. We're creating an artistic, experience, but, through engaging, with it you, do. Yeah. You're allowed, to just, see, certain, connections, that maybe otherwise you wouldn't you know ever you, see the free, event. Anyone. Can join. Okay. I'm the. Last day is more like my workshop, that's, right yeah so the last day is we have a workshop, for two hours with Professor Steven Stansfield and it, is really, about discussing, with. Communities. But really with everybody who wants to attend um how. Nice affects them and to get a feel for understanding. What each and every person can do - yeah, and really, um. Engage. With with noise differently. I guess yeah not, just as he, said not just I need, to be to, feel, like it's something, that is invasive and aggressive, and don't, it with something that we. Can we. Can get wax or, anyway. Yeah. That's. Great, and how. Integrate, how do you see these, amazing, project. With kima kima's, noise. As. An evolution. Of what you were doing already. On. Your own in, a more, visual let's, say, with. A more visual interest. I I. Saw, on, the webpage for, example that that beautiful. Photo series, series of photography's. That you did with, the boys, or men, exploring. A little bit the new or. The new paradigm, of mainland. Identity. In our, modern, society I, would like to see how all. Those previous, work, and these, are. Naturally. Connect, tape, organically.

Connected, For. You as a as an evolution, of you our, work yeah. So I. Guess when I'm interested, in is almost. Invisible phenomena. So things that are there. That. Are tangible, we, know that maybe, we haven't find the right, way of expressing it yet and that's very much what we're doing with an anaemic group is were creating experiences. That. Are ideally, a massive, I gave you participatory, but. Normally. What we're trying to do like the sound it's, there we, don't see it but it's it's kind of presence and we're trying to work with this idea of presence and, that's. One. Of the key, factors, in actually, all of my art works is that I like, this idea of, presenting. Something creating, something I'm. Showing. Something that, you can feel but you. Might not have words for just yet I mean, yes that's what I'm interested in that's why it's, called. Poke. For a post-apocalyptic. Angels. Or something like that either is that the title you know so I mean this particularly does every several series listed I'm exploring this is one of them and in, this particular one I'm really, interested in this concept, of. Feeding. Religious. Importance. And in our society you know it and this, over, the course of three generations, our. Society. Kind of lost this very, deep. Connection, with religion, and I'm, a very, secular person so I don't want to I almost say this is right overall I just wanted, to comment on it and then all of these symbols of. Um. Of. A different time they're still around us, you know we the church. Is and sculptures, of angels, and includes. A hugely, important, and also very, spiritual, people but. They. Don't, necessarily, Stickle yeah, a way, of feel connected, with something, bigger than you. Yeah. It's a it's an so. Symbol, and, archetypes. Are also something that you you, are interested, very. Absolutely. World in a very um, yeah, they're, very concrete, like, in this case yeah and here was interested, in this idea of angels. That are kind of bored and a. Bit without a sense of purpose of, it without a sense of and direction. Because, there, is no peer, kind. Of theological, structure. That is there for them anymore so almost, like the unemployed, angels. And. That makes. Me. Think. About. Coming. Back to Kemah noise is. It there any difference, between the, way male. And, female or, yes. In general let's say conventional males and conventional, females. In. Looking. At djembe rock in a very. Polarized. Way it's, a different way to proceed, noise, or, to, make, being. More, or less noise, see. Depending. Of, general. Nothing. So I mean I actually don't. And I don't even consider myself. Belonging. To one gender so I guess, the only reason why I'm interested in exploring this, idea of male identity, is because, I think it's such a such. A still, construct. That is sometimes so hyped that, I almost feel, like I need to dismantle it of it and yeah and because it's closer to my own history, but, I actually. Really don't even enjoy the stereotypes. And, I do find this actually, quite automatic, but in science we always try to distinguish, between um. Sexes. And it's just no need for it so yeah, it's something that, I always find a little bit a little, bit difficult in, society.

But Also in in science and research, having, this. Vision. Of. Sexuality. Or gender more. Holographic. Has, something, to do also with the develop, of your own work for example that that one that are beautiful, sculpture, is very autographic, kind, of I feel. Like the less, the. Last book. Polarize. You see things the more round, you see them the more whole you, you have a conception, of. Maybe. Maybe that's why your, work tends. To be. Going. Through. An abstract. Direction. Or, that's. Why you feel so comfortable in, these, actual. Experiment. With noise I'm. I so. The, the exploration, of noise is really a shared. Exploration, I guess as as added probably has a different, trajectory, because ooh with a millennial group is always the outcome of the discussion, between all, of us and we're opening ourselves in, another, of different levels. And. Yes. We are very abstract and, I think we we, like this idea of. Also. Being interested, in forms, and shapes and. Almost. Been minimally, seen in the use of color and but. We've just been appointed actually, as, the fast, I just didn't the National. Gallery X and, this, would be the first time that we're breaking. This, document. Of ours and it's, not the first time but we will be concentrating. On color, and specifically. Also an abstract, way but, I'm, going, a bit away from this I'm purely. Minimalistic. Kreider and exploring, color I'm on a perceptual, level in the context, of the old masters. To. Create quite interesting. Holistic experiences, so that's amazing because if if notices. Affect, a worm. Reaction. And we're way. Of feeling, or, even. Our well-being. In general I, think color have, a great, great influence. In how. We feel they. Even, the level of, optimistic. Impulse. Or not or they or the lack of it, it's. Very related, seems. To be a little bit, stereotypical. To talk like that but, but hmm, I feel, very connected with the power of color it, colors, helps, me everyday to, perceive. Or, show, up in a way, that for, me it could be more, positive or, more engaging, or more active. Or more, lively. Yeah. I. Guess, for me it's. Not, really a question of one or the other I feel at home reading the two words and they're almost like these two sides of the coin sometimes. And it's. Purely the exploration, of form that is interesting, and and symbols. And I'm very, keen catch it and sometimes, I'm just interested in I'm exploring. Purely. Abstract. Almost. Fragmented. Forms. That have no clear outline and then were really interested, in the figurative, and the human, as a subject, and I'm looking. At it not. Just the. Humanists, as an embodied. Entity. But also as almost. As a performer, in a way so i yeah. I'm i really like it one when creativity. Takes you to places and, I guess ultimately what, were interested in is, exploring. Using. All these different, manifold. Possibilities, and that that we have as as I'd assume as creators, to explore, a lot of different menus yeah, so there's, there's a lot of different concurrent. Rejected seconds. Do, you think in that particular. Installation. That keema is gonna, make. Now. At. The Tate. Energy. In itself. Plays. An important, part it's. Going to change a lot depending, of. The. What. What people contribute. Or brings to. The room or not. So. The beauty, is that with, these sound sculptures, they measure, also. The piece so if you draw something very fast I really will hear the sound travel very fast sir are you and, if you're very very, slow. Then, you will create a different experience. So yes, I do you think this would be very much up to the audience what, they want to do with the space which is incredible, because give, to the audience a sort of power than, audience, but. But historically. Speaking never, have it's, more the. Expectation. Waist, feels more like that and a spectator, more, than an hole. More. Than planer a very active, role and in this situation is going to be older on the opposite, is, it it are, you inviting, young people, kids, is open, for everyone, everyone, any age, that's.

Really That's it and, we. As. Connected. We really with loved. Family. Based audiences. From the outset so very often he'd say the words I'm never. Really afraid, of sounds, of making sound yeah, exploding. Advice so human voice is what I found I true projects. We have a second, and development. That we're currently exploring kima voice and. What. About the human voice and exploring, wow i. Yeah. Tell, me but. I'm. Going to prop you briefly. Because, I have, always always, thought, that. When. You describe. Physical II someone, you. Don't you never include the voice but the voice has an amazing. Reputation. In, how you see someone, or have you perceive, someone and, if all those are physical quality. The voice of of, someone, and, voices. Can be like, you said before it can have an effect very. Beautiful. Very relaxing. Very. Emotionally. Good. Or it, can be something that annoys, you a lot, it. Makes. You feel bad so. It. Tell. Me please more about that because I think it's fascinating so, and we've been exploring the photography for quite some time initially. I, worked. With performance, then at the Roundhouse for. The 50th anniversary they invited us the kurus. Apiece the, wheel and, in this case the audience was invited, to explore, their, voices and different characteristics. Temperance, or different nuances, in the human voice in different, visual force and this was the first time we worked with machine learning algorithms. So, in this instance the the, idea was to almost, create a system, that was, intelligent, and intelligible. And that would make sense of what kind of voice and. We. Were listening to so I'm more, frequented. Voice will, have a different, shaped than, a motor, neuron softer. More, yeah. More. Flowing or Asakusa world and we, try to translate these nuances into, different, visual forms and became quite a complex, system. With a lot of different possibilities and.

Yeah. So this was the fast iteration, of, working, with the human voice and with, female voice we went one step further and, we look at the space in between voices. So how we resonate. With one another how. The voices. Beautiful. So the harmonies, between horses because, it's very easy to mathematically. Compute, actually, and it's it. Is a real. Relationship between. Sound. As, which. Has a lot of different components but also, this. Idea of a relationship between sounds, is something, that is that can be quite. Easy translated. And it's really interesting what happens when people who have never met each other a semi, invited, to feminize, to create harmonies, between their voices and some. People it happens like that and inches click, and suddenly, different, shapes, there's, also chemistry. Between voices. Yeah. It's gonna, in general, when there's chemistry. Yeah. Oh that's beautiful, that's beautiful and that's gonna happen again did, you have any future, plans we. Get right. Now. Yeah. We're. Focusing, on the noise because it's a big. It's. Very soon now and then. Obviously. We have the National Gallery but, and we just exhibited, kimura noise and cue boys oh geez at the particle and. Beautiful. You see how, the. Symposium. About AI and. And. The response of Pope of the audience, was great was great yeah, it would be wonderful and it's really and the, more the. More time people have to engage with it the more they understand me yeah because you also i guess for. People is really important, not just got the experience, of but trying to understand, how that works the phenomenon, you are creating, there and, did, you in. That particular, case also were working, hand. To hand, with, a scientist. Or someone, from. The science, area. In. Know, in the case of kima voice we I mean we're always looking, at a lot of different research and is actually one of the no money I purchase a quite some time to develop so we're usually spending about two, years on really developing a body of work I'm adding, this, one who's quite a lot of research it wasn't a specific pattern it, was a whole range of articles, and also, different schools of thought because um our. Western conception of music, is very. Classically. Trained and is almost a bit traditional, and. Not. Necessary, linking. Sounds. To to. Mathematics. Straightforwardly. But they but they are well they're cultures, that don't sir, yeah and, I think that's what we were interested in almost finding, a very. Very. Wet. Sous-vide so it's a very, deep connection between science and mathematics. Idea. Can. You create a, some. Sort of mystical, experience with. Something like that to go deep in in or instead. Of, instead. Of having, an exterior, experience. An. Experience. Because. And. The idea is to create connection. Yeah. But, would we have done because you asked me about science, is so we worked actually with a really, a great institution so, they called the Center for Performing science, and and.

They Have a project that is called Heights and it's a study about health, and arts and how did you can, influence each other and their, between Imperial, College and the world country music and the. Center for Performing science, basically, and he said has to work with them on the Great Exhibition Mode festival and we. Had the installation, of keema boys and we tried to pleasure and so we develop together with the center of the photo sensor fashion and, measured, how people felt before and after, and was a singing. And praising. Sounds, together would, make them, happier, if that would change the. Idea. Of social connectedness, that they, feel what. They do find out that. That. Is the case yeah people really if you are creating. Sounds, with somebody you've not met you your voice is connect so and we. All have a very, specific vocal, signature. It's. Almost like a fingerprint, there's something very specific, very, spoke, very. Individual. And yeah. To be able to connect with somebody definitely. It shows people feel, feeling. Less, less. Alone. So. Now. They're on the two. Particular. Country. And, noise. Noise. Is something that really. Perturb. People. They did, you can see how all. Those react, where there's, there's like something, that goes, and he'll be up, the. Level of normal and. How. When someone is speaking too, loud. You can see the reaction of everyone, else feeling. Mmm. Please I, don't need to listen to your conversation. But. Sometimes, that also make. Us feel too insulated, everyone. With ADD phones, and, their own little bubbles, so. Maybe maybe, it's an answer, to start talking, talking. A little bit louder in public spaces. Somehow. Creating. Connections. That way, if. You have to describe. London, they sound, of London, -, three words I don't know choose, as many as you want which ones would leave those words. Dynamic. Exciting. Exhilarating. It's. Yeah. Some of the words we used, vibrant. Alive. Yeah. Very it's. It's. Part. Of the city so much you said it feels like there's, such, a diversity, is, such a cacophony of different, sounds from everywhere, so it's definitely a positive impression. So. Let's invite everyone. To, the. Event of chemo noise that is going to happen, take, exchange, that's this fifth. Floor, of the buildings and. I. Don't, know I think I think everyone. Should go, we definitely. Yes. It's from the 20th to the 24th, November and, at the Tate exchange, at Tate Modern, you're all very much invited, it's free and open for everybody so, see. You there and thank. You so much so thank you for these amazing. Conversation. It really really, really, made. My perception, of everything, why, there I'm. Better. Thank. You. So much and, good luck see. You there.

2019-11-22 16:14

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