Arhitektura Metafonike

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Arhitektura Metafonike (audio)

Zvuk je zasigurno prisutan i mnogi ga smatraju samim životom, medicinsko istraživanje interakcije čovjeka i zvuka i povezivanje ove interakcije sa oblašću akustike, arhitekture i na koncu konaca sa javnim prostorom polje je koje otvara nova pitanja. Instalacija „Arhitektura metafonike“ auditivno teži da unutar jedne arhitektonske cjeline – zgrade – predstavi odnose koji se dešavaju unutar jedne biološke cjeline – čovjeka.

Zvučna instalacija „Arhitektura metafonike“ rezultat je algoritamske kompozicije fizikalno generiranih zvukova. Sam algoritam je rezultat mjerenja krvnog pritiska i to u periodu od 24 sata u intervalima od po 15 minuta. Svako mjerenje je evidentiralo: rad srca, rezultat sistolnog i rezultat dijastolnog krvnog pritiska. Puls je prikazan u bps (otkucaj u sekundi) dok su mjerenja pritiska prikazana kao numeričke vrijednosti. Podaci mjerenja su dobiveni zahvaljujući suradnji sa timom dr. Zaima Jatića iz Centra za nastavnu i naučno-istraživačku djelatnost JUDZKS a autor zvučne instalacije „Arhitektura metafonike“ je istovremeno i dijabetičar kojem je zahvaljujući upravo navedenim mjerenjima dijagnosticirana i hipertenzija.

Krvni pritisak se ne mjeri kao frekvencija u Hz, ali je za potrebe umjetničkog – zvučnog – prikazivanja oscilacija krvnih pritisaka i veze istih sa otkucajima srca uzeta numerička vrijednost mjerenja kao da se radi o frekvenciji. Rezultat ovakve umjetničke manipulacije mjerama je elektro-akustična kompozicija zvukova koji auditivno demonstriraju oscilacije krvnih pritisaka. Kako bi se pojačao muzički dojam ove intervencije tonovi su dodatno odsvirani na klaviru.

Budući da se kompozicija reproducira u javnom prostoru, pažljivom konstalacijom položaja monitora zvuka i usklađivanjem istih sa akustikom prostora i refleksijama iste kao i jačinom tona instalacija teži da pronađe „slatku tačku“ akustike kako bi u toj tačci bila upriličena sinteza tonova u autentičnoj akustici prostora u kojoj instalacija bude postavljena. Verziju koju možete poslušati ovdje sam pokušao prilagoditi slušanju uz pomoć slušalica.

Svi zvukovi su fizikalno generirani uz pomoć programa koji je besplatna platforma za fizikalno procesuiranje signala: pure data.

 

Grad od zvukova

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City of Sounds (Audio)

Acousmatic composition City of sounds is one presentation of sounds that where collected during the previous phase of the realization of the project ACTOPOLIS.

Participating cities sent the sounds recordings and Haris Sahačić created this soundscape performance set that is exhibited in premises of the Historical museum of Bosnia and Herzegovina as one 5.1 sound installation. This is just the stereo mix-down.

Recording: Actopolis Cities (Sarajevo, Belgrade, Bucharest, Oberhausen, Hamburg, Athens, Zagreb…)
Production: Radio CRVENA Antenna 2017
Sound Designer: Haris Sahačić
Curator: Danijela Dugandžić in cooperation with Goethe Institute in Sarajevo

 

Agony

agony in the mirror
“agony_in_the_mirror”_by author

„Agony“ as feeling, subjective in its very own spirit, present in sub- but also in human conscience. In one close correlation with human cognition and self-understanding. In one correlation with collectivistic thought. Conceptual, contextual, individual.

Composition “The Agony” is a result of one sound study. I wanted to examine the level of composity of sounds that have different sources: human-, radio-, electronic- and acoustical sounds. I wanted to find out what will happen if I mix human voice reproduced in one acoustical environment with sound of microphony recorded in the same acoustical environment. I mixed these two recordings and the result was one very strong cacophony. That was the beginning. It was a sound recording of the disturbing chaos.

Challenge was to create the path from chaos to one composition that has conceptual message. I decided to add to my first output recording, a variety of similar or physically same sounds that have different sources.

Sounds where added, pitched, stretched and sent through a specific order of filters, until I created one specific sound molasses. After that, I used FFT to extract specific frequencies and specific acoustical passages.  Over and over again I applied one specific order of filters and effects and recorded passages and small particles that came out of the molasses of chaos that I have created.

At the end, this process generated several waves that sounded composable to each other. That was the beginning for me to start experimenting with energy that these sounds carried in them and I could feel that energy when I listened them together. Waves were strong and moving and at that time they imposed to me the feeling of moving forward. Music composers would notate these wave passages as forte. This is a part of my sound study that I call euphoria.

Agony is a feeling that is on the opposite side of euphoria in some sense, also there is no agony without euphoria, so I applied in one specific order revert effects and FFT filters on specific passages that where euphoric and extracted these reverted waves again. Later I placed the reverted euphoric waves exactly below euphoric waves in order to hear the effect of the opposite force.

This clash of euphoria and its physical evil twin opposition started to create a composition of sounds that reflected the feeling of torment and powerless struggle, or with other words, agony.

Prettiest Train – Cities and Memory

Part of our Prison Songs project – see www.citiesandmemory.com/prisonsongs for full details.

Reimagined by Haris Sahacic.

“It is a collective spirit that makes this sound event truth. I decided to distinguish all the sound sources and to „clean“ them out without changing the length of the recording or touching any bit of the tempo and the perfect rhythm. I believe that any change on this recording would just damage the impression of the truth. It is a document. So I just created one small difference between the leading voice and the chorus. In order to headline the rhythm I also isolated the sound of shovels.

Of course train is symbol of movement and freedom, in Bosnia we use sometimes the term “train” as a metaphor for a chance or a woman: „either you catch that train boy or you stay alone“. The original recording was made in the field, but what I am missing are all those sounds of the field. That is how I found the space to play decently with the silence between the lines. I imagined the band of field insects that are improvising uninvited on the prison jam session in the field.

In order to make the symbolic connection to the train, I organized the contributions of the „band“ sounding like an old train from 1940. I played a little with surround sound so that „band“ is all around. In one appropriate moment, I added the sound of the Mississippi Dove that is characteristic for the area where original recording was made and the bird sounds – when the male is inviting the female – like old train whistling, I found one short recording of this sound in the www and arranged it a little.”

Certainly I recommend to everybody to hear also all the other contributions by visiting http://citiesandmemory.com/2016/04/prison-songs-launching-today/

DaDa Sounds – Cities and Memories

Part of our Dada Sound project (February 2016) – see more at http://www.citiesandmemory.com/dadasounds By Haris Sahacic.

“Papst Franziskus visit to Sarajevo was definitely „the event“ of the year 2015 in Bosnia and Herzegovina. Security measures where on the highest possible level and all together created a specific atmosphere in the town that remembers sounds of war very well.

I did not need to do anything accept to hear sounds, that where btw. unignorable, record them, think about the “sound semiotics” of the flow of these sounds and recognize one dadaistic comment in the contextual – time and space – moment and conceptual story behind this spontaneous “sound symbolism” that enabled a short travel trough memories of Sarajevo:

Sarajevo – 1992 …– … out of nowhere religions rights came up … – … unpeaceful artists started to make… – … noise … – … words of war…

Sarajevo – 2015… – … church bells announce from the distance… – … unpeaceful birds start to make … – … noise because of helicopters… –… at the end I just glued the words spoken by Papst himself saying: “Mir vama” /Peace to you/ as contrast to sounds that were created (in fact that is my minimal but effective intervention).

This field recording is one collage of sounds that are conceptually symbolizing social and political events of the past of this particular place. To me it was one – probably unwanted – public sound event with one conceptual message. Recording was made from the balcony at the 12 floor of the building; I recorded with TASCAM DR1, the helicopter flayed ten meters from the microphone and created by that this nice multidimensional approaching sound picture. ”

Island of sonic imagination

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Understanding of the sound experiences is subjective testimony that looks for diversity and exchange of any kind. That is diversity that creates exchange and exchange that creates diversity. At the same time, it is the shortest way for sonic imagination to touch the infinity, it questions the reality, perspective, moment, quality, place and time. It goes into the nucleus of the perception. Sonic perception. Perception that is extended by technology, by microphones and headphones, perception that is additionally extended by focused ears gathered to listen and to hear.

As a measure of movement, time was always an inspiration for a creation. Time is integrated in every creation and every creation is an artifact of time. In fact, time is creation created by creations.

The search after one clear insight into the sound of time starts where silence gets some feedback, reflection from the architecture. To be more precise, it starts on places where architecture conserves time, where time can be heard trough hearing the compositions of the architecture.

Architecture is waiting, to be heard, to be understood and not reshaped by historical and/or art discourse theories. Architecture itself is a unique peace of recording that never stops playing, it always combines and recombines variations of movements measured by time. Sometimes it is an echo of a beautifully round shaped sound of thunder that – for a moment – fills all the corners of stone streets. Sometimes it is a bell from the church tower that leaves a sound sounding around behind for a long period of time, but most of the time there is a strong feeling of presence of the silence it is a presence of the best place to record the story and to create the composition that can be heard and understood as a recording of time that is conserved trough architecture.

Deep above, between sonic perceptions, a specific sound is created. Sound that unifies and determinate all silences that are surrounding every subjective sonic testimony. Echos are like humans, alive in halls and church towers, old, slow, clean, defined, very conservative, but very interested in new movements that are always measured by time. Architecture is standing still for centuries, it does not move anywhere, time is standing just behind it, it reflects the stillness and silence and only change that can be recorded is change that creates change by creation that is just an artifact of time.

There is a mathematics in every measure, in every stone, in every shape. There is a clear distortion in simple creations of old stone masons, like an obvious but still obscure communiqué: let the time put the final brilliance on walls and streets of this timeless sound sculpture called Faros.