Everything in the physical universe is made up of subatomic particles such as electrons. By their very nature, these particles, when they exist as pure potential, are in their wave state while they are not being observed. They are potentiality “every thing” and “no thing” until they are observed. They exist everywhere and nowhere until they are observed. Thus, everything in ouyr physical reality exists as pure potential”.
Dr. Joe Dispenza
An audiovisual installation exploring sounds and images as particles of reality clustered to form meta-entity with an attempt to provoke no meaning at all - only pure potentiality. Sound-installation consists of 2 systems playing in tandem:
I:In the room is the low frequency response speaker-units attached on the wall. To the cone of speaker are attached semitransparent nylon wires leading across the room and creating a web. Numerous ping-pong balls are attached on the wires; inside each one is a small artificial pearl. As the membrane of the speaker vibrates, the wires oscillate. Consequently the white balls start to shake while producing high pitched rattling sounds throughout the room.
II:There is low frequency response speaker-unit on the floor. On the ceiling is a large sheet of silvery mylar plastic. Semitransparent nylon wires lead from the speaker towards the surface of mylar. The vibration from each speaker is transmitted on the surface of the silvery plastic membrane, creating ripples and rustling sounds.
"I am attracted by situations resistant to rational analysis. Such situations leave free space for potential interpretation - the phenomena of interpretation is inevitable. I encorporated this fact into compositional methods. I reject voluntarily employment of logical systems, narrative structures (there is no "story" or message ) and employ sounds, even very "concrete" sounds, as non-referential "abstraction". All sounds are abstract. There is no direct association with the "origin" of sound. The choice of sounds could be compared with using colors or textures while painting or sculpting. It is the character (morphology, inner energetic structure and containing etc.) of sound itself, which determines all, despite its origin. I am always observing the potential of sounds (capability to interact or/and coexist with other sounds), each sequence or single sound are considered as an independent entity. I am searching for a balance, through nature, of each participant (strategy of "controlled" coincidence), sounds are playing the roles of "individuals" coexisting inside "societies of sounds" (= compositions)."
interview by Saoirse Higgins for Arts Bulletin Vol.18, Dublin, Ireland (autumn 2001)
Slavek Kwi is a sound-artist, composer and researcher interested in the phenomena of perception as the fundamental determinant of relations with reality. He has a longstanding fascination with sound-environments, developing what he terms ‘electroacoustic sound-paintings’ that oscillate between sound only works and interdisciplinary works exploring social, spatial and temporal processes. These complex audio-based situations are created mainly from site specific recordings, resulting in subjective reports for radio broadcast, ‘cinema for ears’ for multi-channel playback, sound installations integrated into the environment and performances. From the early nineties Slavek has operated under the name Artificial Memory Trace. Collaboration piece realised with Eric La Casa “Vibratility.Mozaik” received Prize of the Electroacoustic Sonic Art Category in the 29th International Competition of Electroacoustic Music and Sound Art, Bourges 2002 in France.He facilitates experimental sound workshops with autistic children and those with learning disabilities. The workshop technique emphasises extensive listening and the stimulation of creativity through observation and the support of natural tendencies. Slavek was born in former Czechoslovakia, lived 14 years in Belgium and has been based in Ireland since 2000.