Ekranizacija Subjektivizacije

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Nakon neodoljive potrebe da rastavim stare računarske monitore i epohalnog otkrića metoda razbijanja katodne cijevi  a da pri tome vakumirani ekran ne eksplodira, došao sam na ideju da ekrane koji inače raspolažu sa pozamašnim zadnjim trapom suzim sve do nosača koji su ugrađeni na samoj površini ekrana i savršeno odgovaraju za potrebu postavljanja stanjenog ekrana na zid.

Sužavanje zadnjih trapova ekrana je proces koji je mukotrpan i zahtjeva koncentraciju jer je debelo staklo potrebno grickati klještima koja se uglavnom upotrebljavaju kad je potrebno porubiti pločice. Kad se dobije finalni proizvod, dakle nepravilno izgrickan ekran. Onda se pristupa konceptualizaciji LED rasvjete što je zapravo poprilično komplikovano raditi jer su ekrani okrenuti na pod i ne vidi se šta će se prikazati nakon što se rasvjeta ekrana upali. To je nešto što treba biti u stanju pretpostaviti.

Tako sam proizvoljno ubacio nekoliko rengenskih snimaka, nekakve plastične regulatore, razvaljene katodne cijevi, bakarnu žicu, neke grafike koje sam odštampao na foliji i komade nosača matičnih ploča iz ekrana. Sve skupa sam pričvrstio jedno za drugo, silikonom i sekundarnim ljepilom a na obodima sa unutrašnje strane sam provukao LED rasvjetu u nadi da ću proizvesti interesantne sjene i apstraktne i nepravilne prelome svijetla. Nakraju sam sve skupa prišerafio na zid.

Sad za sad sam nezadovoljan i razmišljam o slikarskim intervencijama s tim da slikarski moram intervenirati tako da u postojeće vizuelne forme koje postaju vidljive kad se upali rasvjeta integriram forme koje se trebaju vidjeti kad je rasvjeta ugašena tako bi se jedinstvena slika dobila tek kad se rasvjeta upali po danu. Ne znam, nisam pametan.

 

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.