Created by Alberto Harres at HfK Bremen, ‘Arche-Scriptures‘ explores ceramics as a possible medium to store digital information. An artifact found at a speculative archeological dig-site is being scanned by a decrypting machine, through which the visitor is invited to listen as the original audio data engraved onto the ceramics is slowly retrieved and sonified. The experience offers a glimpse on a possible future past, it speculates on the future of our digital traces through an ancestro-futuristic perspective, provoking a discussion about continuity, preservation and archiving.
ARCHE-SCRIPTURES revolves around understanding ceramics as a possible medium to store digital information. It “emerges from an impossibility, from the ambivalence between two disparate realms: archaism and future” – it proposes an archaic digital medium, a paradox of fragility and permanence, which seeks to “resignify the assumed linearity between past and future, deconstruct the idea of vertical time, history and technology”(BORGES, Fabi).
The data stored in the ceramic pieces consists of voice recordings extracted from the Pandemic Archive of Voices. In the headphones one can listen to the software attempting to read back the engraved information. The surviving piece being decrypted by the machine has engraved the sound of the word “dalijna”, meaning “distance”.
For its summer project in 2013, Mudam’s Publics Department invited Yuri Suzuki to conceive Looks Like Music, an audiovisual installation based on his work with Colour Chaser – beautifully designed but minimal vehicle that detects and follows a black line whilst it reads crossing coloured lines and translates them as RGB data into sound.
“There Should be Gardens” is the title of the 14th edition of InterAccess’s Emerging Artists Exhibition. Drawing on her research in feminist/queer curatorial and media arts practices, the exhibition is curated by Toronto’s Amber Christensen and showcases five Canadian early career artists whose practices address “the interconnectedness of technologies, ecologies, botanies, gender and the cosmos.” In aggregate the show’s selected works invoke elemental qualities, amplify and abstract natural materialities, and offer different modes of seeing and engaging the world. With the show winding down this week, CAN engaged Christensen in a Q&A to unpack the show’s framing and provocative works.
Created by Playmodes, ‘FORMS – String Quartet’ is a live multimedia performance for a string quartet, electronic music and panoramic visuals, in the field of visual sonification. The project originates from a real-time visual music score generator created by Playmodes, that is designed with a set of rules using graphic generation, driven by randomness and probability.
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Created by Jasna Dimitrovska as a part of her Digital Media – HfK Bremen, Master Theses, Three Machines on Transparency is comprised of three machines that by own demonstration allow the artist to synthesise philosophical concepts of different forms+ideas of transparency into the corporeality.
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