2,2 O

AMALIA FONFARA

2,2 O

2017, Interactive real-time binaural sound installation

 

 

Link to project website:

 

2,2 O is a project made from a collaborative process between moving image artist Nazare Soares, sound artist Øystein Kjørstad Fjeldbo and artist and shamanic practitioner Amalia Fonfara. Taking the structure of a (2,2) mode shamanic drum as a reference we have built an invisible architecture that is experienced sonically. (2,2) 0 will offer different layers of experiences, exploring affect within body processes of becoming. (Massumi, 2002) We utilize wireless motion and position tracking through an Ultra Wide Band-system. From this information (XYZ body in the room and XYZ head direction), we are rendering binaural sound in real time from Pure Data, directly out to wireless headphones on the navigator. In this way, we have created a composition of movable virtual sound sources throughout acoustics rooms. One navigator at a time can move around and interact with these sources through their presence in the rooms.

Our project addresses notions of invisibility and vacum within the virtual environment. How to disoriented and displace the observer's outside experience in such environments, to the extent of emphasis internal physical perception of the body? How is body awareness connected to the acceptance of perceiving states absence of external stimulus?Deviation of direction when we project our senses, may be connected to our capacity to reclaim subjectivities. Subjectivities and body self-intuition gain a complete spatial-temporal experience from being immersed in the virtual. (Bergson, 2006)

2,2 0 offers an alternative individual experience from that understood contemporary notions of the virtual, and arises question about colonizing the gaze through strategies of affection. What do we define as the virtual in contemporary media culture? What are the technology and techniques used in the visual language in order to produce the virtual? How is the cinematic related to the virtual within politics of speculation? How the consumption of media has been influenced by the production of virtual culture and affected the means of imagination?

In immersive environments the body is mediated by spatial cognition. The subjective experience of “spacetime” is given by means of spatiality. (Barad, 2007) In immersive experiences we placed the subject at the very center. It echoes past experiences obtained from panoramas built for means of colonial and imperial entertainment. Feminine gaze offers a circle without a center, where the form is already content, where the point of view isn't determined or fixed.

We relate the essence of the virtual to evocation and activation of imagination within shamanic practice. Focusing on neo-shamanic practices in Scandinavia, we have gained a deeper understanding of the function of the drum in ancient ceremonial and ritual work. We have developed the narrative of the work implementing drum journeys, as storytelling alternative strategy for the composition of the soundscape. We use diffraction as a methodology for dichotomies to happen within the virtual, as a place for a possibility of production of "extas". The virtual environment functions as a non-place, as a mental place, “control of internal and external comportment, retention of the agency of the self, and of memories and experiences that are often subsequently recounted as narratives”. (Lindquist, 1997).

Enterence to installation space of (2,2) 0. Head with headphones. Singapore, ArtScience Museum, 2017.

 

 

Floor plan of sound installation. Measurement: 10x10 meters.

 

 

Closing ceremony (2,2) 0, Singapore, ArtScience Museum, 2017.

 

 

Closing ceremony (2,2) 0, Singapore, ArtScience Museum, 2017.

 

 

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