Medijų meno projektas „Stereoscopus“

The conductor employs mind-altering sonic structures using the rhythms emanating from organs of the human body, such as the heart and brain, exploring various phenomena surrounding the body and psyche.

The heart’s magnetic field, which is the strongest rhythmic field produced by the human body, not only envelops every cell of the body, but also extends out in all directions into the space around us. In relation, brainwaves are measured to have strong electromagnetic and acoustic signal properties which are running through neuro synapses in the brain.

The impact of external fields, such as electromagnetic radiation of new communication technologies and noise pollution in urban areas, mechanical vibrations, all have influence on the human body and perception. While being exposed to electromagnetic pollution, radiation, microwave weaponry in our current technological world, the human organs change their patterns, the biological rhythms are being affected in multiple ways.

The brainwaves which carry the conditions to human health, are getting tapped into by technology, causing arrhythmic behaviour and electronic apathy. Often overlooked problems of contemporary technologies are hazards of electromagnetic pollution, arguably more threatening than climate change.

Hazards from Electromagnetic pollution (or EMF pollution) can be in various forms. It can be electrical hazards, fire hazards, biological hazards and DNA fragmentation. The invisible world of electrified objects, fields and bodies interact and create emerging movements, patterns and super-sensory phenomena.

Pareidolia is a phenomenon when the brain recognises an object, pattern, sound or meaning where there is none. Seeing faces in clouds, hearing voices in the static noise. In this case study, the aforementioned elements interact together and create subliminal associations and shapes. It follows to become an abstracted emergent thought process, internal patterns are seeking relation with recognised surroundings.

Techniseptic is using sound therapy practices, field and body scanning in order to bridge the atmospheric toxicity and healing. The compositions are like medicinal soundscapes, performed as a séanse session. Scanning for synchronicities in and between coexisting internal bodily parameters and external stimuli, thoughts and wireless transmissions, mood, breathing and oscillating electronic devices.

What is it like to be hearing a thought going though another object?

Or perhaps even what is the sound of the afterlife?

A variety of traditions, religions and institutions throughout history were using frequencies and methods to affect the human in various forms. From different kinds of priests and shamans around the world using chants to heal, foresee and transcend, to current new age preachers hypnotising the viewer through mass media and new military technologies using destructive frequency methods to crowd control and invisibly implant voices into people’s heads at a distance. Scientists succesfully analysing monks and athletes getting into “flow states” and trance like conditions by changing their brainwaves and heart rhythms. New biometrical replication techniques taking health samples and learning to clone voice, heart rate, brain patterns and dreams, then feeding back into the subject, create multi-layered humanoid conditions in contemporary society.

The way that communism and ideas of the Soviet Union manifested in the historical context of Lithuania was influenced by the first techno-religion, Russian cosmism. Emerging in the early 20th century, it had a strong ideological and aesthetic expression. Everyday objects were presented to Lithuania and the rest of Soviet society as transcendental and transhuman; inventions were illustrated with mechanisms that had nothing to do with them; and design was ruled by the “sacred geometry of Universe”, saturated with spirituality.

A person was allowed to develop an individual “cosmic” relation to everyday tools, thus giving them a ritual use. (Vacuum cleaner as planet Saturn, slide projector as Sputnik.)

In the meantime, the relationship between technology and ritual in the Western world was based on techno-metaphysics and functioned essentially as a show, producing short-term, ephemeral effects. Scientology and similar institutions used technology to suspend their subject in the state of belief-waiting and enlightenment-healing. The new age movements asking uncanny questions like: can wireless electricity start healing pain someday? What all the cosmic energies floating through bodies everyday do to human perception? How to detoxify your self via external frequencies using minds, stones, instruments?

The experiential installation brings awareness to the relationship between the city as a collective entity, the archetype of civilizational progress, and the human: a cell that is balancing between individuality and the whole. Although the city is created by people, they equally depend on it. We keep wondering if it is we, who affect the environment more, or it is the environment that has a bigger impact on us? Two dimensions – visual and audio – that best help us experience the city, are merged in this artwork. It combines a futuristic, perhaps somewhat dystopian image of urbanism revealed by a labyrinth of fluorescent lights and a vibrant human origin: the unexpected sounds of the everyday environment and the objects that made them. The search for the exit from the labyrinth becomes a dotted journey through the gallery’s architectural-urban-socio-cultural habitat, while reflecting on our personal relationship with urban contexts. In this journey, objective/documentary and subjective/mystified reality experiences are synchronized.

It is an interactive experiential sound installation that – thanks to a special software – provides the sound for the sky. Here, the image is translated into sounds in real time. The movement of the clouds, the time of day, the amount of light – all these aspects determine and change the unique sounds created by the object. The ephemeral sound visualized on the planes creates an environment in which you can pause and listen to the movement of the sky interpreted by technology.

Dangarsis is based on a digital connector, in which the properties of visual information are converted into values (of brightness, speed of movement, colors, etc.) and these are connected to any properties of sound, thus creating a correlation between image and sound. By limiting the timbre properties of sounds and filtering out certain frequencies, a music theory-based harmony remains, which, in turn shapes the environment in which various sounds integrated from the environment fit into a whole. The sound you hear here depends directly on the changing picture of the environment. The installation provides a context for the space, and this allows the work to mark and enhance the authenticity of the environment enabling the spread of its new meanings. The gallery space becomes a meditative environment that connects the outside and the inside; it is designed to listen, evoke a phenomenological experience and enhance the unique experience of each perceiver, which is being established in the interaction between sound and image.

THE SYSTEM, begins with interest on the foundations by which the linguistic shapes project themselves from the very mental structures and onto the sound patterns themselves. Further finding representation in the physical world.

Loosely inspired by ideas of pictures of meaning, how the language reflects the underlying structures of reality, this artwork tries to explore the extrapolation of those ideas into the nature of sound itself, and its intrinsic relationship with language.

Thinking of words as metaphors, a question arises of where the meaning of their sounds comes from. Is the meaning arbitrary or is it contained in the sound itself, and in turn has the sound properties that carry universal meaning with it? And what about emotions?. What makes a polite, or a loving voice, be such?. Or what does a belligerent voice carry with it?. What about fear?.

If meaning is also inherent in the sound, it is also inherent to the natural patterns in it. More than that, the world of intangible structures, social patterns, emotional interactions within the tribe, if taken as physical reality, must be an actual picture and reflection of the patterns emerging from meaning making in languages and the structures of emotions in our psyche. Structures that may as well be innate, nurtured by nature.

By this token, universal objects, and emotions would find primordial representations in mental and linguistic structures, patterns, rhythms and expressions. Clearly, it is hard to find a definite collective emotion, common across the diverse cultural realities. However, affectionate language, flight or fight, and fear expressions can come close to such universality. Nowadays there is a potential opportunity of sampling a universal fear for a global viral threat (2022), an opportunity to understand how the same meaning/emotion is rendered in different linguistic forms.

THE SYSTEM is a [mostly] sound art installation, consisting of a multichannel sound system playing processed sounds of language in order to extract certain patterns and features of language to accompany these ideas.

What sounds like synthetic voices hints at the patterns of language as a technological material development, harnessed by whichever evolution of the mind and machines is to come. Sculpture elements add further accents on the signification of the concepts.

Can diversity be a strength? Sight is a project that challenges our experiential worldview, encouraging us to look at the surrounding environment from a variety of perspectives and to highlight he inevitable distinctions as a strength – a multifaceted harmonious whole – combining social, cultural and political aspects.

To emphasize the diversity of differences, the installation uses a landscape, the meaning of which – thanks to the synthesis of various elements and constant change – acquires ambiguity. The uniqueness of the landscape lies in dynamics of different interactions in each specific area. This phenomenon can be perceived, experienced, heard, seen, interpreted, or felt differently. A landscape is an image of an area formed by natural processes and human activities, the perception of which depends on different outcomes, circumstances, causes, experiences, emotional charge or state. The audio range is an integral part of getting to know the landscape. It doesn’t only provide a certain feeling but also allows to find your bearings in a certain space and to understand its limits.

The audiovisual installation consists of a computer-generated landscape and an audio recorded using the binaural sound recording method. Drawing with light indicates the flow of time, and the sound that defines the boundaries of the gallery walls helps to understand spatiality. 8 geographical directions, 32 sound points, 4 metronome tempos become part of the cognition of the site-specific landscape and emphasize the aspect of subjectively perceived time. With the help of atmospheric sound and 3D generated image, the work invites you to experience everything in 4D: the change of time and space and the metamorphosis of spacetime.

“Handbrake(!)” is an installation about the car culture we live in, and the mental dislocation happening with the sudden and drastic absence of a continuous and pervasive sound. An handbrake mounted in the room gives the audience the possibility to disrupt and mute the music that is filling the space, opening the way to a rhythm living inside another rhythm. In the same way, the pictures of car bodies hanging on the walls are the fruit of an ongoing research into hunting forms living inside forms. Car bodies are here venerated as enormous exoskeletons feeding and reflecting light, and shielding inside themselves a dark and filthy organism.