Tretji del interdisciplinarne+multimedijske procesne serijalke Razširjena Cirkulacija 2: Platforma za totalno umetnost se je izvršil na festivalu PixxelPoint 2010
Cirkulacija 2 v razširjeni zasedbi je taborila v Mostovni. Delovala je od ponedeljka 6. decembra do vključno petka 10. decembra 2010, od 12.00 do 24.00 vsak dan (v ponedeljek smo začeli malo pozno).
V svoji že tretji koncentrirani pojavni obliki v letu 2010 se je razširjena platforma iniciative Cirkulacija 2 zopet soočala z razkorakom med trenutkom in konstruiranim časom – naturo in kulturo – med procesom in strukturo – in pri tem trdi, da je vsak proces, ki ima za cilj umetniško strukturo – umetniško dejanje. Platforma kot umetniško delo. Zdi se, da ima umetniško polje to enkratno zmožnost, da vsrkava vse osnovne vrste človeških hotenj – kreativnosti. Torej tistih, ki nimajo drugih agend – prenosov na druga strukturna polja – npr. ekonomije (igra za ekonomski dobiček) ali politike (igra za moč).
Raziskovanje učinkovitih drugačnih načinov medčloveškega sobivanja je eno od teh hotenj – na drugem koncu pa seveda slejkoprej tudi kreiranje/ harmoniziranje samega sebe in osebne podobe o svetu. Zato tudi cela vrsta novih oblik umetniškega izraza znotraj sodobnoumetniških praks. Od aktivizma, odprtokodnih principov, do-it-yourself pristopov in drugih načinov neposrednejšega – živega javnega nastopanja.
Torej: interaktivnost, ki je razumljena kot medčloveški princip in ne kot tehnološko-umetniški žanr. Metaforika simbolov naj se neposredneje – trdneje pokaže v umetniškem delu/ delovanju. Umetniško delo lahko nemara precizneje spregovori skozi umetnika, ki ga je ustvaril. Konec malikovanja, nepotrebnih mistifikacij? Zato tudi odločitev za večdnevno javno dogajanje z velikim številom neposredno prisotnih avtorjev.
Socialna struktura je participatorna, nehierarhična in znotraj individualnih izrazov sodelujočih interdisciplinarna, ali kot raje rečemo: antidisciplinarna – torej proti ločevanju v discipline/ red. Na vseh področjih uspešno sestavljena platforma postane umetniško delo, kadar vzbudi pri udeležencih pozitivne občutke in pusti pečat.
Konjunkcija = zlepljenje časa in prostora z živim mesom človeške prisotnosti.
Posadka/ The crew:
– vse dni bodo sodelovali naslednji avtorji/ these participants will be present all days : Stefan Doepner, Ksenija Čerče, Boštjan Leskovšek, Dennis Tan (Singapore/ Bremen DE), Elisa Ulian (Udine IT), Monika Glahn (Berlin/ DE) and Borut Savski
– med krajše sodelujočimi so/ shorter term participants: Neven Korda (thursday, friday/ četrtek, petek), Bojan Andjelković (četrtek, petek), Petra Kapš (tuesday, wednesday), Milan Kristl (thursday, friday/ četrtek, petek), Bogdana Herman (not yet confirmed/ depends of weather conditions; thursday/ četrtek), Sandi Tasič (thursday/ friday)
– poleg omenjenih bodo za krajši čas gostovali tudi nekateri drugi gostje s samostojnimi ali povezanimi projekti/ there will be some more people jumping in for one day only
Some brief info about Cirkulacija 2 platform week in Nova Gorica:
– the dates: we arrived quite late on monday, 6th december and stayed until saturday, 11th december
– organizers of the festival provided us with 3 hotel rooms for 7 people (2+2+3) in Hotel Siesta in Nova Gorica http://www.hotel-siesta.si/hotel.php – here is google map: http://www.hotel-siesta.si/kje-smo.php
– we rented another flat for two to four persons in Solkan – closer to Mostovna (it was cold, so we decided to rent additional two rooms in the hotel)
– the event took place in a small concert hall of Mostovna (a change from the previous gallery situation – to our benefit) – Mostovna is a cultural center in Solkan ( check the google map )
– there is 10/10 MB internet connection, wireless and all; heating also
– monday (6th december): setting up the platform
– monday (6th december) 23.00 to 24.00: netstreaming to Radio Student (Borut Savski; Huda ura; presentetion of the project; interviews with some of the participants)
What was planned:
– tuesday (7th december) 17.00: Dennis Tan – Presentation of his work (presentation; questions & answers)
– tuesday (7th december) 21.00: Borut Savski: Music is Dead – Long Live the Music (audio-visual concert performance). No public – did not happen.
– wednesday (8th december) 17.00: Petra Kapš – Storytelling on oracles with visual imagery and (self)sound explorations
– wednesday (8th december) 21.00: Elisa Ulian & C_2 friends: From the Clashing of Noises, Sounds and Voices Towards the Breathing of the Earth (vocal / electronics performance)
– thursday (9th december): arrival of additional participants (Neven Korda, Bojan Andjelković, Milan Kristl, Sandi Tasić)
– thursday (9th december) 22.00 : Dennis Tan – concert
– friday (10th december) 22.00: Retro_Rave intro – introduction to Retro_Rave is a performance/ lecture by Bojan Andjelkovic on rave culture as recycling of culture principle topic that he raises
– friday (10th december) 23.00 – etc. : Retro_Rave Event (going into the night…) – a combined performance with visualists & audialists, VJs & DJs… All together plus Milan Kristl (kalimba), Sandi Tasić (Orton) – keyboards, etc.
Podrobnosti sodelujočih/ details from participants:
– will stay at Nova Gorica from monday to friday with the possible exception of thursday
– to perform on wednesday if possible, since my friends work on the other days (it’s not sure that they’ll come)
– the title of performance insofar is ‘From the Clashing of Noises, Sounds and Voices Towards the Breathing of the Earth’. It might last more or less between 20 and 30 minutes. In order to do that, I need some electronics to produce voice distortion similar to what you did last summer, traffic noise, electronic sounds… Since I don’t know if my friends are sure to come and so I’m open to any possible cooperation that could happen there with you and the other people present.
– monday 23.00 to 24.00: radio netcast/broadcast to Radio Student Ljubljana: Huda Ura
– performance on tuesday: The Music is Dead – Long Live the Music!
– friday: part of Retro_Rave event: techno performance with Milan Kristl (kalimba)
– presentation of work with questions/ answers
– i would like to do a presentation of my works and talk a little about my ideas to my works.
– I can either do solo and collaborations sound sessions. i’m open. be nice. what i will do will be decided the next days. most likely i will bring my noise boxes along with me.
– with the 555 and 4017 (electronics…), i’m still learning, so we can have a more or less learning ‘station’. what i’ve build so far is a passive ring modulator, 555’s, cacophonator, preamp with LM386 and will try to finish up a 40106 drone synth. i think it would be fun to make some noise circuits.
– will work on interactive installation: The Bush of Moses
Nisem se še čist dokončno odločila, kaj bi bil moj prispevek za cirkulacijo (dokončno bo najverjetneje razvidno šele za nazaj) – razmišljam pa v smeri pripovedovanja na temo orakljev ali pa branja na isto temo in verjetno bom poskusila raziskovat način pripovedovanja/branja ter procese percipiranja slišanega in videnega. Recimo kaj takšnega: Storytelling on oracles with visual imagery and (self)sound explorations.
Interactive/generative video projection imagery
Poster: Cirkulacija 2 situation at MKL Graz, november 2009
from Borut Savski: A few notes about the Cirkulacija 2 event at Mostovna, Nova Gorica – PixxelPoint 2010 festival
This is intended as a kind of personal observation without any qualitative evaluation of the specific or individual events/ perfomances – more as kind of reflection points for the future events and how to approach different topics that should make up the so-called total art event as we do it.
All in all – with the exception of the audience – it was a very fruitfull series of compressed days. I have no doubt that the recordings made would be better than anything we have done along these lines before. I would like to thank all for the participation and hope to do together many of the future events – and learn through practice together.
The structure of participants was exemplary and the number of participants created a self-sufficient creative environment that totally compensated for the lack of audience. Still, as a public – and publicly funded project – I have some bad feeling regarding this. It raises some questions of worthiness of radical approaches for the
(hm?) nonworthy (non-existing) public. The only other solution would be getting away from abstract free form and into the more functional predictable and stable aesthetic forms (formats). This we probably wouldn’t like. But anyway – even for the announced events – no audience came. Hm, not even the organizers…
All that was going on during the week – all the sound sessions – was excellent – I believe there were some real jewels. Also with the arrival of the thursday people – the value of what was performed was excellent.
There were some timely (scheduled) events planned that were supposed to add some additional aspects to the almost tribal (but very aesthetically coded) sound sessions. Some topics which should be raising some questions and some verbalized information of who we are, what we do… the so-called presentations. I am sorry to say that they were not met with too much enthusiasm and were usually going on just before the eating. The desire to for such events is not very pronounced and the concentration is quickly down to zero – myself included.
Still, to remain satisfied only with the very codified and abstract sound and vision should not be enough. Then we really become a band (the low of the lowest…). I would like to point to the ‘salons’ that we did in the beginning of C2 – the verbal communication is very important – the struggle for definitions also. This is the creation of a discourse – what we are, what are we doing, etc.. I can understand that the available formats for this are emptied of any creative energy – still we would have to find some other forms for this – a kind of short lively presentation with questions and answers all along.
Some additional (functional) forms – like concerts – were announced. With no public I decided to skip my concert, which most of you have heard before, and by foreseeing this situation I also cancelled the concert with Bogdana Herman a week in advance. This proved wise enough. No use to bring an elderly lady to the a space with no
audience. Still, i have a feeling that I should have gone through with my concert – if not solo (a little pointless since I would have to shut down the rest of you) – then as some combination with some of you. But to react in real-time is always problematic.
Dennis was kind enough to force upon us the presentation of his work. It functioned well, though I already felt the lack of concentration among us. I missed very much the announcement of presentations or performances from most of the participants.
Stefan proposes a kind of a blackboard with announcements of events, presentations – for instance: on the next day? For any kind of audience we have to do this at least a week before (says I…). In any case, when Ksenija claimed her time on friday just 10 minutes before the 21.00 – it was a little shock for me. I had a feeling that she
was taking for herself the time that was not supposed to be individual. However this was just my personal feeling at the time – no problem.
The most functional (as defined above) event was the Retro_Rave event on friday – it was planned as such – again with almost no audience – though it was announced properly. And again it proved that the concept of Cirkulacija events is unable to provide a scheduled event / performance / concert. In this sense Bojan’s
introduction performance is only to be praised, however the self-destructing (=self-preserving) instinct of Cirkulacija seems to be acting against that kind of performence. We should soon find some solutions for this kind of events – or stop doing them. However, they are communicative in the sense that allow us to ‘serve’
the audience. For me, this was the most critical moment of the week (‘the kaos’). After a couple of hours it was fine again.
The presentation/ performence of Petra Kaps raised one question – the language that she used – the Slovene – excluding half of the people from being able to participate. However, I think that the problem is deeper than this – it is about a basic conflict between an art form and what one has to do (and can do; and cannot do) within a framework of art. Petra’s decision for the language was presented as her firm aesthetic decision. It seems now that the decision for a specific language should not be a part of an artistic concept – if some communication is expected – and especially within the international participants=audience. All other Petra’s decisions were extremely coherent, as it showed later when Dennis started his questions.
Some of my thoughts (exchanged with Bojan some days after that and with Paule Ecimovic some weeks before):
Any kind of translation of the basic topic to the field of art forms (formats) mostly becomes an (empty?) aesthetic shell – no original ‘real’ content is transferred. This topic I tried to explain some weeks ago to Paule. For instance, his usual topics – either in the raw form of dialogue or as a raw lecture – are 100 percent truth. A lecture is a performence already – no need to translate it into art form. Any translation to aesthetic form – like for instance Bojan’s performance – becomes less true in comparison to the native topic representation. Again, Bojan’s
perfomance ‘per se’ was aesthetically very good – just the topic of his speech was totally masked (mascareded?) by an aesthetic (theatrical) performance. Which can also be totally ok – it was coded as a performence anyway – for the audience, who are used to decoding theatrical performences. Although, for me personally – he then
got carried away and couldn’t pass the event to other people. The awareness of collective timing is the art of improvisation also. But again: the real-time has its own inertia and we are unable to control it very much. Also: the decision for ‘theatre’ or ‘truth’ might not be that important (but it is important for me…).
At some point i also noticed the lack of available opportunities for quite sounds – in the case of Moni, Milan, Elisa and all the more acoustic sources. As at Sajeta – it happened again – there were some quite moments only after three or four days. Again: a blackboard as a communal time organisation machine might solve the problems for the less agressive people. Yes, a word could be spoken out directly demanding some space for silence, but it might not be that easy – so: a blackboard as an additional ‘cultural’ interface for the wild humans?
Stefan proposes a day off from the project – as part of the project – to relieve the tension.
Bojan had a very good idea to create some short simple ‘guidelines’ on ‘how to use’ Cirkulacija – for the audience. It is not clear outside our very narrow (Ljubljana) circle, what the audience can do and expect. No nonsense – just short and simple. I think we should do this – if Bojan has some ideas about it – it would be perfect if
he did some sketch of alineas.
There is a lot to improve, it seems.
from: Dennis Tan
Hi there members of ‘circulation’,
Nevertheless, the noises, food, talk and work was an enriching experience for me.
I had some talk with Borut about Cirkulacija during my stay and here I would like to air my views. Although it was a good time spent together, with regards to public attendence, it was disappointing. Maybe it was this lack of public ‘support’ or interest that some of us didn’t really take it seriously. i’m not interested in pointing finger at any one but rather we can judge our position ourselves.
The funny thing was when this tv guy (or visual artist) came to ask us about what we are doing there and what Cirkulacija is about, i felt uneasy describing it. Only after the interview that I came to realised what Cirkulacija is about.
Cirkulacija is a collaborative effort presented itself as a self-functioning entity. I like the idea of working 5 to 6 days together with a ‘main’ group of people and inviting others to present themselves and projects as well. When presented in a festival situation, Cirkulacija, functions like a modular system. This system is made up of different modules which on it’s own is self-functioning. It is like the group is spreading itself out in the horizontal than in the vertical.
It could also seem like putting a few people together, each making sounds and visual, makes this collaborative a ‘Band’. Unfortunately I don’t see it like a band and I doubt that we would be happy selling the idea of Cirkulacija as a band. If we decide that it should be a band, than there are other forms that we have to work with.
I feel that there are some pointers that we could work along to make Cirkulacija ‘a better place’.
Getting to know more about ‘the others’
The concept of giving artists (‘main’ group or ‘drugi’, the chance to present themselves or work, is one of the strong points in Cirkulacija. And I think that we have to create a program of fixed dates. (to the best we can). And this should be included (if possible) in the flyer of the festival as well. This would be an alternative offering from the festival itself. If the situation in Nova Gorica should present itself again, then take it as a presentation for others in the group. After all, we might not even know each other well enough.
A time limit would be good to give the person who is talking or presenting. Max 2 hours, all inclusive, from presentation to QnA and I think that whoever is presenting, should be given due respect. We could also get interesting artist from the places that Cirkulacija has it’s tent set up.
What’s left after the indescribable, is music!
I think that we could have some form of practice for improvisation. I, personally, have no problems working with some form of ‘dirigent’, waving cards or throwing dices, in our musical escapades. It can help us to listen more closely and generate better understanding of others sound/music/noise. And i think that each of us have the possibility to say to each other, shut up and listen to me now! And i hope that under this collaborative, it will be respected.
I think the idea of waiting-to-see-what-happens in the group for outsiders (meaning people not in the main organisation) should be discouraged. In a certain way, this could be explained in the invitation, as to what each wants to do, present or even participate in. Everyone should be heard and also present something!
Another possibility is to have open doors or hours, where people from outside the festival can come an improvise with us. So maybe a short list of insturments could be mentioned. Like flute, cello, kalimba, diy noise machines, robot playing pig, etc…
‘MCs’ could give some spicing to the group. But an event like Bojan’s, some form of practice or rehearsal would be good. To have some form of pre-arrangement, who does what and when. it’s just a form of strategy.
> Stefan proposes a kind of a blackboard with announcements of events, presentations – for instance: on the next day? For any kind of audience we have to do this at least a week before (says I…).
great idea! like a menu for the day! but i would still say, that some fixed dates for the flyer or programm would be good. it doesn’t have to be filled but it can be stated that it would be updated on the website and especially the blackboard.
> so: a blackboard as an additional ‘cultural’ interface for the wild humans?
unfortunately wild humans still aren’t able to read each other minds and decipher emotional states.
> Stefan proposes a day off from the project – as part of the project – to relieve the tension…. Bojan had a very good idea to create some short simple ‘guidelines’ on ‘how to use’ Cirkulacija – for the audience. It is not clear outside our very narrow (Ljubljana) circle, what the audience can do and expect. No nonsense – just short and simple. I think we should do this – if Bojan has some ideas about it – it would be perfect if he did some sketch of alineas.
i’ll end here now. it would be nice to hear your comments.
from: Elisa Ulian
Hello Cirkulacija 2 !
From the moment I read the postscripta on your website felt that I wanted to share my feelings too,
since you are so open to feedbacks.
What I got from this experience is the true meaning of “total art”: something appearing on its own as the result of collective work. That turned out clear at the very end of the week: I felt that in those days we were working towards a common goal, each of us in his/her own manner, each one contributing with his/her intuition, capability and understanding. A different level of awareness took place and enabled us to communicate without words. As far as I was concerned, I observed that I felt free to shift vocally among different sounds: sometimes they were dissonant with the machine generated sounds, sometimes they were consonant like a melody and sometimes they were ancestral, earth rooted sounds.
When first I arrived at Mostovna/ Nova Gorica I thought that I couldn’t cope with machines, but during the week I experienced that it is possible for men and machines to cooperate, as long as men are deeply rooted into mother earth with a good ‘ listening/feel ‘ of the different moments: sounds, noises, silence, voice, different instruments… I think that all of it can collaborate together without the necessity to write or to organize this ( I noticed this while we prepare the food together everyone had a work and if we can listen/feel what everybody bring and HOW he/she brings… the food will have several kinds of flavours ).
As a matter of fact, the name that first I felt to propose was “ From the clashing of noises, sounds and voices towards the breathing of the earth ”, but in the end it came out that a more appropriate name was “Clash and Breath – between the clashing of noises, sounds and voices and the breathing of the earth”, this change being more a personal achievement than a change in title.
My very performance didn’t take place on Wednesday because it took place during the whole week: I felt that my proposal was just a single fragment of a vaster thing that at that time I could not define. Now that there is some distance from that experience I sense that in the end of the workshop the general theme that formed was really something about “ Techno dispositives AND Human beings ”. . .
Weather cooperated with our movement from something oppressing to something open and light. Cooperation was the red thread and the fact of speaking what we are and what we could give was a good idea – in my opinion it could be great that some time everyone could meet the others in order to explain his/her intention and his/her research. ( I didn’t speak about my work, I don’t know why… there wasn’t the right time… or for me to speak about myself in a formal presentation is not so spontaneous… ; during the week I didn’t speak so much, nothing I thinked, one of reasons was the language and so I listened/felt and tried to communicate in a different ways…)
I noticed that for different reasons none of us, excluding those who held a lecture about his/her work, did perform but in daily work and the last, general event and this make me think that Cirkulacija is really moving towards a common work, made up of singularities. The singularity I brought you comes from my past and actual experiences. In the last years I am living in nature to learn to listen to trees and plants vibrations. I am working a lot on breathing and on the contact with the earth in order to rediscover and revive the natural rhythms of humans beings. I am also working on the voice resonances both of human body and of places. The natural offspring of this research is the work I am carrying with a Swiss team I met some years ago that deal with new cognitive approaches, the different levels of awareness and bioenergetical rebalancing through pure vocal frequencies in order to reconnect humans being to their ontological qualities. According to this view, voice “is oriented and it sounds ‘by itself’, beyond the mind while the consciousness of the voice which emits the sound is aligned with the organism receiving the sound”.
This is what I felt. This is what I wanted to share with you.
May 2011 be a great year for new level of awareness for all and for you in Cirkulacija in particular !
Bye for now
PS: I am deeply grateful to my friend Grazia for her help in translating my feelings into English – as you could see, my English is so “primordial”…