|interview with: u sun (2005/08/30) |
tags: soundtoys, artist, journal, interview, text
How do you define "soundtoys" ?
Soundtoys is a playful repository for artists working with new audio-visual interfaces and is focused on the artists? pleasurable input and affectivity of the receiver. Its about total immersion and neglecting time structures.
On a personal level, why do you make this work?
As an art student, I loved image-making by combining shapes , junk and twinning collages to form mythical characters then photographing them as motile 2d imagery; accumulated data and generative landfill is an extension of this condition.
What is you project and your work about?
The work actualizes ideologies of emergent matter associated with biological data, intuitive behavioural pathways, aesthetics and mythical (fictitious) characters and their landscapes.
The objective is to programme generative, recombinant pixels that evolve and mutate, reacting to a call for actuation of the stimulus. The concrete relationship between the sensibilities of the user and interface are immaterial as all minds render forms and representation to experience objects in time. The breaks in lines and colour trace the metaphysics of aural space, by recontextualising the planes via streams of colour and illusory sediments. Thus, the environment, and spatialisation of each apparatus lack succession as the sequentiality of time cannot be thought to the end.
How long have you been working in this area?
If you are referring to information arts? I?d say about 5 years. I've been image-making for a while.
What/ who has influenced you in your work? (themes, other artists etc)
Generally, I enjoy Slovene design and the paintings of Antoni Tapies, Mark Rothko and I appreciate the revival of the dead fractal aesthetic. In these pieces, I was unintentionally influenced by the Electric Company, and several sound artists in Sydney and Melbourne.
Are there any other artists covering the same field as you?
Yes, the other kooky emergent people. I.e Lia, Submeta, dextro.
Do you see this work as art?
Indeed, the frequencies oscillate from left to right ,up -down and are to some degree, iterative. It is biological versus the mechanical, that of mathematical instruction.
With regard to 'soundtoys' especially, why do you think the audio visual form is so key to the net?
Soundtoys is a diverse audio visual platform for the player to partake as counter cultural to large commercial enterprises on the net. Communal and experimental audio-visual mediums are significant in swaying behavioural parameters related to overpopulated gimmicky sites.
What defines the aesthetics of new interactive art.?
The aesthetic of new interactive art is not fleeting momentarily in an immersive timespace nor a misconception of the sensory apparatus, as time is the very existence of the apparatus. Experiencing generative components unravel in non-sequential time gives form to a new aesthetic.
How important is the visual aspect in the 'new' relationship of the audio visual?
My work has been inherently visual in the past, but I find my early childhood training in music has helped me to listen. Listening is important in aiding intuitive creative output.
How novel do you feel generative music and interactivity is?
Algorithms have been researched since the 70s?I watched an old episode of the Bionic woman, whereby she was assigned to prevent an algorithmic device from causing mass destruction in L.A. _
Nevertheless, I enjoy the opensource nature of remixing screens taken from generative pieces, remixing artists mp3?s and bootlegging. For example, this year, there was a missy elliot remix spell which brought together culture jammers. Its community building and good to play with.
Do you think there is a history to audio visual work?
There is an extensive history of audio-visual work. John Cage, Laurie Anderson and Terry Riley pioneered audio-visual performance in the 70s. In terms of early cd-rom art, one that comes to mind is Metabody, an interactive produced by Stelarc, Merlin and other Australian collaborators in 1995. See also VNS Matrix, one of the first cyber feminist groups. http://sysx.org/vns/
Would you describe yourself as a multimedia artist, a net.artist, programmer, or none of the above?
I am an online artist working in a variety of formats. At present, I am remixing a shortfilm, Beginnings by Husein Alicajic into digital format.
What software do you use most and why?
I use Shockwave, Audiomulch for granular synthesis and a multi-tracker to sequence it.
I ?m not all for the revival of dead fractals but I think there are a few elements I can adapt from working stark fractal aesthetics into new generative visuals.
Can you recommend three urls to soundtoys?
Disgruntled Ninja: http://www.theonion.com/onion3535/disgruntled_ninja.html
JIMPUNK & Chris Bruno: http://www.iterature.com/gogolchat