sound: Luka Prinčič
The idea for creating a MIDI interface was inspired by a need to represent the haptic forms of image and sound. The potential of such media lies exactly in the forms that they can be transformed into, so that the monitoring of transformation is of key importance. The device enabling the visitor to participate in the creative process is able to register through sensors the changes in movement, presence and touch. The visitor changes the sonic and visual appearance of the work. Sound and image are presented as variables – the form is never definitely determined and is constantly subjected to change. The viewer enters into this process as an unknown quantity determining the momentary form of the installation. Interaction consists in exploring any possible form through, so to speak, an ‘instrument’ with no previously set rules how to play it.
The basic principle is challenging the traditional concept of the image as a geometrically defined, two-dimensional space as well as the three-dimensional norm of sculpture (as a static object, made of rare, carefully selected and long-lasting materials) with kinetic objects, made with new materials and using new media, which are installed with regard to the dynamics of a space, light, sound and time. The focus in such artworks is transferred from mass to energy, from statics to dynamics, from object to relation, from firm to the fluent state and from visual to tactile perception.
Interaction is reduced to gestures which the viewer does with his hands – the sensors can register both movement and touch. The controller module is formed so that it incites a game of exploring endless transformations of sound and image. The frame is literally open and the user himself has the possibility to, metaphorically speaking, break it open and enter the game of creating a kinetic artwork. The strategy is to mobilize the viewer to become its co-creator, and this input is programmed into the very concept of the work.
Once a passive observer, the viewer now enters into a dynamic relation with the artwork. Only with her participation does the artwork become complete and it is only then that it becomes an artwork. The function of observing becomes the function of performativity: the audience is expected to act and follow instructions and it is only then that true purpose and meaning of the artwork is accomplished.