How can perception of conflated sensory information be translated into observable forms (eidos)?
Tracing My Echo began in the form of a book as an exhibition space. I present the ‘ambient noise’ of ideas in which to encounter the work and to lift off the page. The What and Where of Eidos (εἶδος) is a composed soundscape using a computer to simulate the echoes of squirrel clicks (chirps) inside an abandoned historical building. The aim is to bring the space to life and transport the viewer into a subject of, and active participant in the experience.
Reverberation is used as an instrument through 'mapping' the space, combined with audio transcriptions of a 3D 'depth map' of the building’s façade. Translating these sound frequencies into musical notation allowed public participation, and thus co-creation of the work. Extra layers include frequencies which can induce neurological responses in the brain, such as those found in ancient chambers. 3D stereo anaglyphs and cut-out templates of a visual equivalent of an audio ‘object’ are also presented.
All samples are stitched together and spatialised in a virtual sound environment. Fleeting appearance merged with permanent form in a poetic experience of patterns, sounds and imagery.
Tracing My Echo
Exhibition, 18/10 – 17/11/13
Tettix gallery, Tsimiski & Dialetti 3, Thessaloniki
Organised by Collaborative Art
Curated by Froso Papadimitriou
Tracing my echo as a concept attempts to reassess the sequence and correlation between the past, present and future, inviting artists and viewers to create new paths in a journey from the essence of cosmic existence to the individual intervention within our intimate daily environment.
In the endeavour to trace a course to its origins, since it is unique in time, a new parallel path is created. 20 artists explore this duality by forming a multidisciplinary map swinging from what was to all possible outcomes, stretching within time and space, while they examine the paradox of the singularity of repetition and the perpetuality of the singular.