Listen to the synaesthetes of taste

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Listen to the synaesthetes of taste

Jagoda Szmytka USES a variety of media and materials to distinguish between sound and image, philosophy and touch

Western culture has formed a well-defined hierarchy of smells, touch, taste and hearing that occupy a remote edge. Hearing has never been considered a fully qualified cognitive and philosophical tool, such as a jewish culture, in contrast to mind-related vision. The boundary is divided by cultural paradigm and frame of mind, and on the other hand is our physical ability. After all, our perception of reality depends on the parameters of human perception: the range of audible frequencies, the clarity of vision, the acuity of our sense of smell. Those who exhibit a particular cognitive tendency have been regarded as wizards, saints, or lunatics.

The western order of the senses is not proved by any objective events. After all, the senses can be honed; Technology itself has a significant recombinant effect on our perception, while art continues to test our senses. Border conceptions and we irresistible compulsion to distinguish, the development of performance for a particular art disciplines: in the aesthetic history, painting, music and literature have again and again is the difference between a shift.

A contemporary artist who challenges us is Jagoda Szmytka. Her intellectual, aesthetic and sensory experiences are numerous. In her work, she USES various media and materials to establish the semantic aesthetic field of stratification and rhizome. She could not distinguish between sound and image, philosophy and touch. This makes her a member of Skriabin, Schonberg, Messiaen, Stockhausen, and only a few composers who show empathy. For Descartes, the sense of generality was unfathomable, and he established the primacy of the eye and writing (writing) in western culture. Color, sound, touch, movement and thought: all these are considered contradictory.

“Sound is more important than ears – it also applies to the body, eyes and mind.”

Jagoda Szmytka: “moving images are part of music as long as they have sound structures and are considered sound. The visual material is part of the composition, as long as no one closes their eyes and ignores part of music. ”

General feeling is not an art strategy, media choice or external stimulus. Jagoda Szmytka discovered her synesthesia early in life. Even select high school (music or art?) It was also a challenge for her. She ended up choosing a music school dedicated to flute. After graduation, the question came up again: should she major in painting or flute? She chose the art history and the music theory, then took up the philosophy, and finally the composition. She even enjoys learning the idea of a film director. All of this is reflected in her music work.

The creative development of jamadda szmich can be described as a gradual but deterministic blur of perception and artistic boundaries. Her first work, such as traffic reciter and tapes, (2005) IO for flute and computer, (2006) NJA alto saxophone and computer, (2007) jasinn (2007) as mixed chorus, four instruments, electronic and computer voice, is the attempt to directly face the sound (/ voice and electronic apparatus), music and narrative form. Her sensitivity to timbre is interesting, and she develops an interesting rhythm of drama and her bold tools. But these are just to achieve some universal acceptance of what music is and who the composer is.

The question began with her multimedia “me? Study who at what time (2008) is a harpsichord/piano, metronome, recorder, electric sound, video and light. In the comments, Szmytka wrote: “I want to know” who play “is what, what is this musical instrument, what is the work and performance, the players and the” specific instrument “what is the relationship between. My first thought was’ on-off ‘, ‘on-off’ – opening and closing sound, opening and closing sound, fingers, arms and mechanical work in the instrument’s interior. After a while, the idea became quite complicated. Does the sound start with the beating of the string? Even subtle touches can cause (micro) resonance. Can you hear me? Can the audibility determine the boundaries of sound? How do we determine the initial boundary of the sound? Start and end? What happens if you can see the segment before you actually hear it? Or what if the show started before the rehearsal?

The two pieces mark a turning point: jonse (2006) is a ensemble, and each. O (2007) is three performers. The first is a typical concert: dynamic development, organic and healthy tissue. Second: rituals of gestures and studies of matter; The unity of hearing, vision, and tactile spheres.

Per._o is the first major step for Jagoda Szmytka to define music to himself, not just the sound defined by the sound narration, but an experience and a philosophy. It involves identity, language, body, posture, shape, light and writing. Each of these elements in Szmytka’s work enter into a subtle and sublime interaction that dissolves aesthetic and cognitive categories.

Gestures and energy

The ritual of every two flutes and a pianist. It began with operations on rocks, followed by a series of movements involving flutes and piano strings (only the highest and lowest pitches). It’s a bit of a “Japanese,” but it’s not a fascination with Asian culture. Jagoda Szmytka is a modernist in the western sense. If the non-european music culture appeared in her work, it was because of her unique music form (calligraphy = sign writing).

Jagoda Szmytka describes life as a verb (a) renne! (2009) the ensemble as a way to “record” or “define something”. “Definition” simply USES the hand to make a circular motion: “only the one that comes directly from the form/energy/energy of the body is definable. (it’s a megaphone scream). Their frequency cannot be fully predicted, because every musician will put his hand on the microphone in a different way to generate his own feedback. Music is a product of shape.

Sound parameters such as pitch, volume, and maintenance gradually become blurred. In each._o, they are replaced by an attack/connection of a type of short note (dot), glide, longer sound (line), circular breathing, and exchange of stones (circles). This is a composition of the impulse and shape (the title contains: the dotted circle). A study of gestures.

Per._o marks the departure of “tonal thinking” and the music universe determines the scale of the notes. In Szmytka’s music, the meaning of the work is to be stripped of the significance of the attributes of the notes established in the traditional works.

They were replaced by gestures. “These works mark a stage for me to explore the movement and energy of the body as the medium of music.” The basic aesthetic determinants of Szmytka music are the movement of the hand, the change of the bow, the pressure, the speed, the change of direction. Separate and join. Everything that seems functional and intuitive becomes the music medium that is modulated. Therefore, in the verb (a) renne life! Strengths not only influence the sound volume, but also affect its efforts. The fact that the merits of this fact cannot be realized by sand paper is digress.

The instrument

Jagoda Szmytka has been developing gesture music, starting with each. O, although I? Research on who is in (2008) amplifying stringed instruments, tapes and video, verbs (1) human life! (2009) ensemble, and the previous seven-point line (2010) was six musicians. The instruments are in the vanguard. The concept of the film was preceded by a simple movement involving Musical Instruments, finding chords, trying different kinds of blows, and analyzing the relationship between performance techniques and result sounds. In the composer’s own words, “to write is to leave” with the musical instrument. Music is not born in the womb (scale, frequency, tempo, volume, structure). It’s the product of intimate relationships that people share with instruments.

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