Sunday pm edit
APPLICATION FORM MADE CALL FOR PROJECT
1- Applicant Name(s) and Surname(s) (s) applicant(s):
Company, corporation, university: ELK
Country: UK
Website:
2 - Project title:
Triadic Oculus
3- Documentation (digital files to send by email):
4- How does the work address the relationship between the artist (s) and the audience? Please add in any additional comments you have not already provided in your previous application.
1. Istanbul: conceptual development, car trip to cross Europe
September 2011
For the duration of the first residency period, we aim to devise questions and collect material from the audience throughout the residencies with two types of questions: questions to people and questions to oracle. This is inspired by changing relationship between performing artists and the audience through direct participation in production of content and is method used throughout the residency. We are mediators constructing an instrument to enable wider circle of participants to experiment, facilitators of creative process creating a channel system through which these answers are being realized.
In order to build a strong connection to the proposed narrative and audience, the theme of conversations with selected participants will revolve around people's fears and dreams, the way we proposing to do it is asking them questions and recording the conversations to build a database of thoughts, sounds and videos. We are inspired by scientist Otto Roesler’s work. In particular, during a conversation/interview with Eleonora Oreggia in 2008 he affirmed humans are confronted with very crucial questions only 3 times in their life.
http://en.wikipedia.org/wiki/Otto_R%C3%B6ssler
We will try to comment on that on different level with the people will encounter, and we will be open to listen to powerful, secret and personal experience, whereas people will manifest to us their desire to express themselves to us. The questions to the oracle will look into the future but the questions to people will look at their powerful personal experience as well as thier understanding of relation between european and asian culture and their implementation of oracular divinatory systems. We will use a system of fragmentation and recomposition of these voices and visuals we will collect as a database of information which will generate the answers.
Besides proposed workshops with local residents in the original project proposal, we plan to hold a workshop with a selected advisory board to help us structure the conceptual development of the project:
Group 1 (experts in scientific, metaphisical and ontological matters):
- ascetic Dervish
- astronomer
- geologist
- geophysicist
- alchemist
Group 2 (experts in popular culture, politics and temporal religion):
- Christian
- Muslim
- urban planner
- practitioner psychologist
- politician
- women/refugee/care centre practitioner
The meeting will be broadcasted into a local radio.
2. London, concept to creation January/February 2012:
In the second stage of the residency we will take findings, questions and material from Istanbul and spread it around London. We will communicate questions collected and collated to local residents and extend the cross- European conversation collecting stories of human's questions and uncertainty. This will result in expanding collection of the audio/visual material and marks the beginning of development towards production. ?? We aim to start working with the material exploring possibilities for the output.
London meetings with local experts will include:
- programmers (startx, Lisa Haskel, ++)
- Media artists (Alexei Blinov, Graham Harwood, Antonios, Rob, ++)
- theorists
-
3. Mons, production April 2012:
The third residency is focused on running open rehearsal lab, production of big visible tangible layout of circuitry 1.7x2 metres oracle machine, played by the artists and triggered by the audience, video editing. The production process will rely on connections we make with a number of local residents to help us with feedback on the ease of use of the system we developed.
Experts??:
- sound designers
- stage designers
- light designers
4. Paris, performance June 2012:
This is the culmination of a year and a half long journey in creative explorations, learning about Europeans' hopes and dreams, ancient and contemporary oracular divinations and fusion of all in a big cauldron that is Triadic oculus performance.
5- How can your work be made accessible to the widest possible audience in Europe?
Triadic oculus starts with a bang! Our journey will make noise: 3 european women crossing Europe in a car to reach the south-eastern limit of the continent. During the trip we plan meeting with various local authorities, radio, newspaper and tv to communicate the 'mission'. Our experience throught the different places and phases of work will be narrated in chapters for the radio and broadcasted we we go along.
In addition to blogs (Artists talking at a-n.co.uk), streaming, internet, art publications and magazines (furtherfield.net, Art Monthly, etc), and critical theory, we would like to involve a larger audience which is not normally engaging with new media art and experimental creative technology. Our aim is to create an infecting media campain which can reach and communicate our contemporary form of media, this very new instrument we are building, through the use of old media, that is to say, the classic media of the XIX century, or the last millennium.
Our communication strategy will include newspapers (starting local with hackney citizen, guardian, to go to other european languages and countries, and eventually get this very european experience cross the borders of europe to reach and resonate elsewhere in the world), radio (Açık Radyo, Istanbul; Resonance FM, London; YouFM, Mons, Radio libertaire, Paris) and television. We will seek to employ a PR advisor to trigger a mediatic process to communicate the work to a larger audience.
6- How the work addresses and raises awareness of questions about artist mobility, distribution and intercultural exchanges in Europe?
The work in itself addresses that through:
- the trip
- the interconnections between people
- the questions of people circulating all over europe
7- How do you justify your technological choices? Please evaluate these choices in terms of the potential of the technologies you have chosen. To what extent are your technological choices innovative?
We want to build and instrument which recalls a very ancient dream of humanity, that of building a machine able to create though, and to give answers to problems almost unaided (Leibniz in his monograh 'Dissertatio de Arte Combintoria', 1666, described and analysed in detailes his idea of a special alphabet whose elements represented not sounds, but concepts.) We believe that building our own instrument and learning how to do it is part of the research to build foundations of how the work should function. We also believe that there is a certain power and characteristic that we can impress into the instrument through building it with our hands, both in terms of electronics and software.
Our philosophy is that of Floss, Free Libre and Open Source software and hardware: we want to document the process and the techniques we use, and release our software and hardware open for other people to read, use it, learn from it, manipulate it. This way we propose a collaborative methodology of research and development that does not base its creative mechanisms on competition but builds its foundation on collaborative tools and distributed communities of development.
http://en.wikipedia.org/wiki/Free_and_open_source_software
http://en.wikipedia.org/wiki/Open_hardware
We propose a DIY (Do It Yourself) approach and we refer to its cultural references
http://en.wikipedia.org/wiki/Do_it_yourself
This is also important because, if the functioning of our instrument can be compared to a magic event, still its procedures are not hidden or secret but visible and transparent.
We think it is very important from ethical and practical points of view that our oracular software is not patented and that its functioning and the outcomes of our research are brought back into the community.
Additionally, the audio database will be processed by a Pure Data (Open Source software) patch and custom software plus CMOS micro logic boards; an algorithmic process whose rules will be influenced by geological, astronomical and other local data (humidity, temperature, etc) will reconstruct a new oracular speech out of the database of European voices we collect during the research period and the trip.
http://puredata.info/ http://en.wikipedia.org/wiki/CMOS
As mentioned before video will be collected via interkomm software (Open Source online video repository developed by Larisa Blazic) and projected using VPT 5.1 (Video projection Tool) using Pure Data feed.
http://projects.plentyfact.org/wiki/interkomm/Manual http://hcgilje.wordpress.com/vpt/
About the costumes:
We would like 3 dresses different for each of us, here a short plan:
- turkish inspired shapes and fabric (are we sure? the proj should be european...)
- design in London (stylist: Vivienne Westwood, respect!)
- fitted in Belgium
- worn in Paris
8- How does the project approach sustainability and onwards distribution? (it’s adaptability in production and finances)
After the show we go in tour in public squares and retrace our steps and bring the answers back to the places where we collected the questions. Afterlife, a mobile oracular instrument that makes new site specific art works at every new location. We may also try to reach out towards asia, reaching eventually china and japan, so to show this european machine all over middle east and asia.
Another options is bringing the oracle to the burning man in USA
- DVD
- software release and hardware DIY (Do It Yorself) instruction manuals
