Sonic Photography as a Trace of Kairos and Sonic Sculptures in Site-Specific Music The paper is focused to the semantic existential ability of sonic, field (or private, personal) recordings to save and share a
Sonic Photography as a Trace of Kairos and Sonic Sculptures in Site-Specific Music
The paper is focused to the semantic existential ability of sonic, field (or private, personal) recordings to save and share a non-verbalised essence of the past moments in concrete space & time contexts. We can find certain parallels between Roland Barthes´ understanding of photography in his Camera Lucida (1980) and phenomenality of sonic photos/records. The photographic dimension of sound recordings as special inner experiences could be interpreted also in the frame of ancient notion kairos, which expresses e. g. the non-linear temporality of “that right moment”.
The text deals also with the centripetal juxtaposition of Marcel Duchamp’s Sculpture Musicale and John Cage’s 4´33´´. The both became the starting points of my creation of acousmatic comprovised music saving/transforming unique soundscapes. The sounds of specific environments (with semantic social meanings) as a kind of unique musical-sonic sculptures (with using of sonic photographs) were involved in my musical artistic projects: e. g. Pentrophony (2010), Nitrian Atlantises (2013), On Cage with AA (2015) – all of them were published on CD albums in label Hevhetia. Another project Melancholy (2017), co-created with the fine artist S. Zombek and the poet P. Milčák, has changed the place of desolate cow-house near Levoča to the site-specific gallery/concert hall of sounding events, and Sonic Sculpture of Bin (2018) inspired by mentioned Duchamp´s idea was realized in deserted refinery in Rimavská Sobota as site-specific sonic-musical piece interpreted by the musicians G. Vermelho, J. Kavan and author.
Július Fujak (1966) is a Slovak experimental composer, comproviser and multi-instrumentalist, music aesthetician and organiser of unconventional intermedia events. He is a founder and member of Slovak alternative rock groups Teória Odrazu and Otras (1988-1998), chamber ensemble tEóRia OtraSu (thEoRy Of Shake; 2000-2010) and trio Ne:bo:daj (2011-2018). His compositions were performed or broadcasted in USA, China, Brazil, and many countries of Europe. He cooperated with ensembles The California EAR Unit (USA), Palinckx (NL/UK), The Earthieves (CZ), with Jon Rose (AUS), Veryan Weston (UK), Zsolt Söres (H), Franz Hautzinger (A), Jean-Michel van Schouwburg (BEL), Ludivine Allegue (F), Isabelle Duthoit (F), Vladimír Merta, Jana Lewitová, Zdenek Plachý, David Šubík, Jan Kavan, Gabriel Vermelho, Mikoláš Chadima (all CZ), Marián Varga, Milan Adamčiak, J. B. Kladivo (all SK), among many others. He performed at festivals and stages, such as: Red Cat Theatre (Los Angeles), Barbican (London), Audio Art (Krakow), Sound Bridges (Wien), Odeon 120 (Brussels), Big Ear and /Cross/Hearing (both in Budapest), Alternativa (Prague), Exposition of New Music (Brno), Pohyb-Zvuk-Prostor (Opava), Janáček Academy and Skleněná louka/Glass Meadows (both in Brno), Sound Off and TransArt Communication (Nové Zámky), Evenings of New Music (Bratislava). He published several publications and texts on music aesthetics, postmodern art and history of Slovak alternative, independent music culture. He is also main organiser and curator of international series of contemporary unconventional music Hermes´ Ear in Nitra (1999-2007), and international festival of intermedia arts PostmutArt (sound/image-gesture/tex;t since 2008).
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