A:S002 ARCTIC ATMOSPHERIC SOUNDSCAPE
This residency is documented as a day by day journal on Bioartica's blog.
In recent years, the concept of atmosphere has become more and more present for scholars of different academic disciplines in the humanities and arts. Questions in regards to how they are staged, on their ongoing effect in the lives of people ranging from the individual to the collective, and their ontological status; are some of the discussions that have risen. Although they are indeterminate, ambiguous and difficult to grasp, it cannot be overlooked that atmospheres play an important role in the shaping of the social and the political.
Atmosphere, has been my main line of inquiry for the last four years.
A concept I researched in an artistic residency in Ars Bioartica in Kilpisjärvi Finland.
It is needed to say, to surpass the traditional dichotomy of the subject and object, that atmospheres are not inherent to the existence of things; but rather the in-between that emerges from their co-presence. In the words of the German philosopher, Gernot Böhme ecstasies are the way in which something goes forth from itself or the way something makes its presence perceptible. The atmosphere, therefore, emerges as an inseparable whole within a specific time-space.
It is my hypothesis that the current importance of staging atmospheres in artistic practices today may lead to further exploration of perception and embodied experience through contemporary art. I believe that this may take place, by means of empathy through emotions triggered in the encounter with the artwork.
I intended to produce a soundscape in coproduction with the environment.
A Korg MS 20 mini analog synthesizer, field recordings and a DIY Whistler Radio that my friend, colleague, scientist and hacker extraordinaire Cristian Delgado helped me built played an important part in that purpose. Cristian will be the mind on the scientific and technological part of the research. I left the radio in the environment at least one kilometer away from anything that could interfere or contaminate the reception of low-frequency waves of the natural.
I have to clarify that the focus of this research-practice was to explore the concept of the in-between (atmosphere) by centering the attention on the ecstasies of the environment as a gesture, and on my own perception and experience; instead of the objective being an analysis of what the Whistler Radio could collect. Cristian designed then a program to transform the low frequency waves that were recorded in text code, to something I could then use in Ableton Live for the production of the soundscape.