Phase Orkestra was developed during a residency at Werkleitz Gesellschaft located in Halle (Saale), Germany. The residency took place between May and October 2015 and was part of the European Media Artists Residency and Exchange Program and the Move.On. Festival (http://moveon.werkleitz.de/en).
Phase Orkestra arises out of research into 'psychophysics' - the study of the relationship between physical stimuli and bodily sensation - and an ongoing interest in the social, cultural and political role of technology in contemporary society.
Part shamanistic alien construction, and part perceptual experiment, the work is intended to mirror our relationship to technologized society. It is at once fascinating, disorienting, elusive and soothing - a complex organism comprised of wire, electronics, lights and speakers. Whilst denying any purpose, it begs to be understood in terms of utility - what is it doing? why is it here? how does it work? And in denying any 'sensible' answer, it draws ones attention to the senses themselves.
The original 12.1 channel soundscape has been re-mixed using ambisonic encoding for binaural listening - a process which attempts to simulate the original position of speakers and acoustics of the room. Use of headphones is highly recommended to fully appreciate these spatial effects.
A short edit of the installation can be found at: vimeo.com/163029299
For more information see: http://gingold.com.au/phase-orkestra/
Installation, code and audio-visual composition by Matthew Gingold (c) 2015.
Phase Orkestra was realised within the framework of EMARE AUS CDN / move on commissioned by Werkleitz Gesellschaft with support of the Culture Program 2013 of the European Commission and the Goethe-Institut.
Since 2012 Matt Gingold has been creating a series of ‘Orkestras’ that explore the relationship between technology, science and consumer culture. Filament Orkestra is the second of these works, and focuses on the ‘performance of knowledge’ in an age of complex, networked societies.
Where once there were official, or singular points of information – newspapers, encyclopaedias, libraries – we now proliferate data across many channels of communication – leading to both an increase in access, but also vastly varying degrees of certainty regarding the ‘fact’ or ‘fiction’ of any ‘one’ piece of information.
Along with the rise of machine learning, cybernetics and surveillance cultures, this has led to a situation in which individual and collective memory has arguably become a continuous performance of pattern recognition and distribution.
Where once we stored and retrieved a specific piece of knowledge, we – both humans and machines – now perform searches for activities, and identify patterns of information.
Filament Orkestra addresses this contemporary ‘performance of knowledge’ by constructing a machine that is interacting with itself – constantly viewing and re-performing it’s own data patterns.
Audiences are literally positioned in the shadows of the interconnected information exchange flickering before them – drawing awareness to ‘agency’ in the face of a system that possibly no longer needs them.
The use of familiar, semi-obsolete, raw and exposed electronics – kilometres of wire, magnetic relays, speakers and light globes – demonstrates the ease with which a simple system can quickly evolve into an enigma too complex for humans to understand or control.
Created by: Matthew Gingold http://gingold.com.au
Additional code/consultation: Josh Gardiner (physical computing).
Documentation by Matthew Gingold except interview material curtesy of PICA and Fionn Mulholland of Daxen Photography: vimeo.com/user14750255
The Filament Orkestra was commissioned by the Perth Institute of Contemporary Arts for the Exhibition 'What I see When I Look at Sound' (2014).
Domače Volt Orkester seeks to re-purpose discarded technologies to create instruments and installations of new wonder. The detritus of domestic electrical goods can be given a new life, a new ‘stage’ on which to ‘perform’ afresh for us humans, or even just for themselves.
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It's a strange journey in which plot is secondary to pure imagery, the choreography of camera movement and the possession of the performers.
This video was made for a small exhibition and conference at West Space in 2010. The show theme was 'What do we do when all the lights go out?' and explored (amongst many things) witch craft and magic in art.
Other than wanting to make a work with a stupidly long title, I thought it might be nice to explore paint in a video art context. The work was projected at around the right size and position for a light switch on a gallery wall...