WARNING: Do not read!
The more information you absorb, the more influenced you’ll be in the way you listen; the further you read, the more difficult it will be for you to listen without PRE_concepts (=pre_JUDGEMENTS). LISTEN. There is nothing to be understood. No comprehension required accessing this work. Don’t get distracted by any meaning that these sounds might provoke in your mind. Basically, any sound is abstract and without any reference to its origin and experience. there is not any association with origin of sounds employed!
Collage of RE_ality-particles:
Basic skeletonal_structure was created from transformations of sounds of rain and wipers recorded inside car in Birr, Ireland and sounds of pontoons floating and creaking beside Sydney Opera House, Australia 2006.
List of Sounds =
Parrots Kea (New Zealand, March 2006)
Flying foxes, insects, birds (Australia, Kakadu, August 2006)
Fragment from improvisation played by
Miro: sitar and Jaro: doumbek and fingerattles (Belgium, Liege, 2007)
Exploring resonant derelict site (Birr, 2007)
Chinese ringing balls. Bitar (2_string guitar) played with little air-fan. Talking drum. Crackling vinyl. (Ivy Cottage, Ireland 2007)
The most challenging is to perceive voices (especially in a language we understand)
as pure abstraction - voices employed (2007):
Cries of newborn Manuel. Fragments from messages left by our friends on answering machine recently. Fragment of guitar song of P.O’S. recorded in psychiatric hospital.
-
Slavek Kwi is sound-artist, composer and researcher whose main interest lies in the phenomena of perception as the fundamental determinant of relations with Reality.
He has been fascinated by sound-environments for the last 25 years, focusing on electroacoustic sound-paintings. These complex audio-situations are created mainly from site specific recordings, resulting in subjective reports for radio broadcast, cinema for ears performed on multiple speakers, sound-installations integrated into the environment and performances. Interested also in free-music research as part of social investigation and employing the space and any objects it contains as musical instrument. His works oscillates between purely sound based and multidisciplinary projects.
From the early nineties Slavek has operated under the name Artificial Memory Trace. He has published numerous CD/LP-albums on international labels. AMT works are performed, distributed and/or broadcasted across Europe, North America, Australia and Mexico.
Collaboration piece realized with Eric La Casa “Vibratility.Mozaik” received recently 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 places emphasis on extensive listening and the stimulation of creativity through observation and the support of natural tendencies. Currently he works in St.Brendan’s Psychiatric Hospital and for The National Concert Hall in Dublin, Ireland.
Slavek Kwi was born in ex-Czechoslovakia, has been living 14 years in Belgium and from 2000 he is
based in Ireland.
