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Sankhara - Sonic Formations Nikita Zhukovskiy

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Sankhara - Sonic Formations Nikita Zhukovskiy SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY S A N K H A R A sound sculpture 1 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY 2 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY Written part and contextual research documentation for the diploma artwork – the sound sculpture titled: “SANKHARA – Sonic Formations” by Nikita Zhukovskiy im Diplomstudium Medienkunst / Studienzweig DIGITALE KUNST an der Universität für Angewandte Kunst Wien im Jänner 2019 Angestrebter akademischer Grad: Mag.ª art. (Magistra artium) Betreuerin: Univ.-Prof.Mag.ª art. Ruth Schnell Mitbetreuung: DI Arch. Nicolaj Kirisits, Mag. art. Martin Kusch, Ph.D. Patricia J. Reis 3 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY 4 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY TABLE OF CONTENT INTRODUCTION 7 DESCRIPTION OF THE WORK 9 THEORY AND METHOD DEFINITION OF SOUND SCULPTURE 11 LANGUAGE AS SOURCE – LANGUAGE AS INSTRUMENT 13 GRAPHEME AND ABSTRACT STROKE 19 ENCODING ABSTRACT 21 SHAPES: INFLUENCES AND ORIGINS OF “FORMATIONS” AESTHETIC 23 ENCODING NOISE 27 THE UNPRONOUNCEABLE ABSTRACT – UNPRONOUNCEABLE LETTERS 31 CONNOTATIONS OF PHONEMES – MEANINGS OF NOISE 33 SOUND & SHAPE, GESTURE & GRAPHEME – GENESIS OF ELEMENTS 33 SYNESTHESIA 36 AGAINST GENERATIVE 40 PATTERN RECOGNITION VS HIGHER STATE OF CONSCIOUSNESS 41 FREE GRID SOUND SYNTHESIS 43 PHYSICALITY OF SOUND 47 CONCLUSION 48 DECLARATION OF AUTHORSHIP 49 LIST OF REFERENCES 50 TABLE OF IMAGES 53 ADDITIONAL RESEARCH MATERIALS 54 ____________________________________________________ If not stated otherwise images are the property of Nikita Zhukovskiy 5 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY 6 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY INTRODUCTION This essay is a contextual research text written as a part of the diploma artwork titled „Sankhara - Sonic Formations”. The following text provides a formal and technical description of the work. It introduces the artistic method and the role of linguistic and calligraphy studies and stresses the neurological phenomena of synesthesia as the key inspiration inducing the creative process. It outlines the influence of Futurism as a native concept for digital arts, which guides the creative process aesthetically justifies deconstruction as a relevant method. Furthermore, the essay articulates the challenges and possibilities of inter- medial transformations and subjective versus algorithmic approach. In conclusion, it provides a reflection on artistic strategy and choices, outlining the significance and the value of an auditory experience in presence of the work and subjectivity of any interpretation. 7 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY 8 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY DESCRIPTION OF THE WORK „Sankhara - Sonic Formations" is a metallic sound sculpture of human scale. It is a development of the series of works made of irregular asymmetrically cut metal plates, which has numerous connection slots embedded into them, allowing the work to be assembled, dissembled and re-assembled in multiple combinations. The final outcome size is variable, with one of the combinations to be approx. 1450 x 1750 x 2200 mm. Connected to a digital sound setup, the assembled structure radiates a resonant ambient music piece, written specifically on and for the sculpture installation, using an experimental customized sound synthesis setup. The experimental use of transduction technology with a modified transduction device allows the sound wave signal to enter and flow through the material of the sculpture in a form of a micro vibration. That alters the soundscape. Transformed and amplified by the resonant body of work the sculpture fills up the installation space with sound of unusual physical quality bringing certain elements of work into motion. 9 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY François and Bernard Bashet “French Monument Born on 57th St.” Sound sculpture, steel, aluminium, 1955 1 1 Grayson, John “Sound Sculpture”, A.R.C. The Aesthetic Research Centre of Canada, 1975. 10 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY THEORY AND METHOD DEFINITION OF SOUND SCULPTURE This method exercises the approach of creating a sculptural artwork, that is in addition to variability and mobility due to its modular organization, addresses the medium of sound and its physicality, as one of the dimensions of an expanded field [1]. According to the 1979 essay ‘Sculpture in the Expanded Field' by Rosalind Krauss: "The logic of sculpture, it would seem, is inseparable from the logic of the monument. By virtue of this logic, a sculpture is a commemorative representation. It sits in a particular place and speaks in a symbolical tongue about the meaning or use of that place” [1]. A sound sculpture differs from a sound installation, as installation manifests itself through elements or fragments, as a kind of 3-dimensional collage of objects and sounds in space of the exhibition, while a piece of sound art may exist as a record, and may or may not necessarily have a physical body. 11 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY A sound sculpture, however, is an integral body of work composed of shape and sound that manifest itself in the exhibition space as a whole [2]. In the first-ever publication on the notion of Sound Sculpture, an openly gay American composer and artist Lou Harrison defines it as "the integration of visual form and beauty with magical, musical sounds through participatory experience [3]"; and calls for the act of learning through action by writing: "Making an instrument is one music's greatest joy. Indeed, to make an instrument is in some strong sense to summon the future […] Nor all the instruments invented and over, so to speak. The world is rich with models – but innumerable forms, tones, and powers await their summons from the mind and hand. Make an instrument – you will learn more in this way than you can imagine.”[3]. Formation series exercises the approach of creating a sculpture-instrument- body of work. It's an embodied extension of a subjective synasthetic experience of perceiving sound as shape, and at the same time, vice-versa – an instrument to exercise improvisations inspired and defined by shapes, as well as by the gesture of writing in relation to the tradition of futurists, fluxus and graphical notations. 12 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY In the introductory essay to the 2012 Sound Art exhibition at ZKM, Peter Weibel declares: "From the mid-1960s, media artists and conceptual artists were in the vanguard when it came to establishing a new foundation for sound art and pushing its development. […] All objects that make noise can become sound instruments. The sound is liberated from the prison of music. All kinds of sounds can be art. For the first time, the musical alphabet is coextensive with the universe.” [4] LANGUAGE AS SOURCE – LANGUAGE AS INSTRUMENT "Die Grenzen meiner Sprache bedeuten die Grenzen meiner Welt." "The limits of my language are the limits of my world." - Ludwig Wittgenstein [5] The name of the artwork “Sankhra - Sonic Formations" refers to ‘Sanhkara’ –– the buddhist concept of mental formations which are understood as the subjective form-creating faculty of mind. [6] The word itself is native to Pali language and it may be translated in English as ‘Formations. It literally means: ‘that which had been put together’. This implies that everything we perceive as the ultimate reality is, in fact, an illusion created by overlaying. [7] 13 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY ’Xing’ as a typeface. 2 ‘Xing’ handwritten in different calligraphy styles. 3 2 ‘Xing’ character as a digital typeface. 3 Examplse of Calligraphy writing of the <http://www.yishuziti.com/shufa/3012.html 14 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY Combinations of our own state, our consciousness and physical body, our experience, and environmental conditions — everything is dependent on pre-set, on our knowledge and conditioned mind. The word ‘Sankhara’ could be written as a symbol, which is identical both in Chinese and Japanese Kanji, in 6 strokes as . In Japanese it simply means ‘to go' or ‘moving/traveling' or just a ‘line’. [8] In relation to the “Formations” creative method, Kanji symbols are significant, as it is a system of writing that consists of staking and overlaying strokes. A way to create a sign which has a potential to condense a complex meaning that is at times abstract. For example in the case of ‘Sankhara’ Kanji symbol – 6 strokes describe a complex and abstract philosophical concept, which has no direct materiality and no physical body, that could be reproduced in a pictorial way. As all Kanji characters in Japanese, it is appropriated from old Chinese and has a much more complex meaning as a radical 144 sign ‘Xing’, which is explained by the “Analysis and Research on the Concept of Three Connotations” as a notion of impermanence and migration, or in broader meanings — all kinds of impermanence [9]. 15 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY Digitalized Radical sign #144 ‘Xing' written in the ‘Oracle’ script – an earliest form of Chinese writing a kind of an ancient protolanguage 4 4 ShuoWenJieZi 說⽂解字 The earliest complete 987 copy by XuXuan 徐鉉. Collection of Richard Sears 16 SANKHARA - SONIC FORMATIONS NIKITA ZHUKOVSKIY On the relationship between geometry and language Bertrand Russel, in his introduction to the side-by-side-by-side edition of Wittgenstein "Logisch- philosophische Abhandlung", containing a comparison of two different version of English translations of philosophical text next to the German
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