Staš Vrenko - Klima

by Staš Vrenko

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about

Track recorded, aranged and processed by Staš Vrenko
Cover design by Staš Vrenko
Cover photo by Maja Burja

Released at Zvočni Prepihi in March 2018
Avaliable in limited edition of 10 cassettes
Order here: brivnik1@gmail.com

"Kompozicije Oder, Osončeno in Klima povzemajo ustvarjalno delo in raziskovanje zadnjih dveh let. Zgostitve fragmentov in posnetkov lovijo meje terenskega snemanja, ukradenega zvoka, ukvarjanja z in ustvarjanja elektronskih instrumentov ter oblikovanja zvoka. Sopostavljanje in posegi v posnetke, raznovrstnemu zvočnemu materialu odpirajo možnost, da sočasno deluje kot dokumentaren in glasben, četudi kot tak običajno ni pojmovan. Principi ponovnega zvočenja in snemanja, materialu, kot so zvoki površin, posneti s kontaktnimi mikrofoni, zvoki drsanja po vinilnih ploščah, DIY modularnega sintetizatorja in drugim, ki lastne akustike nimajo, le-te dodajo. V isti red so postavljeni terenski posnetki, ki so, kot odzveni realnih akustičnih prostorov, podvrženi določenim strategijam oblikovanja zvoka in drugim medijskim manipulacijam. Takšna, 'izravnalna', obravnava vseh posnetkov, z mislijo na končno redukcijo na vibracije zvočniške membrane, zapleta razmerje med kontingentnostjo, ki je običajno na strani najdenih zvokov in terenskega snemanja, ter željo in kompozicijo, ki sta po navadi povezovani z ustvarjanjem elektronske in komponirane glasbe.


Kompozicijam je sopostavlljen ključni – zvočni - del širšega umetniškega projekta Tehnike Posvojitve, ki je v obliki zvočno-prostorske instalacije luč ugledal konec prejšnjega leta v sklopu samostojne razstave v Galeriji P74. V Tehnikah posvojitve so dokumenti izrazito procesualnega in prostorsko specifičnega raziskovanja in ustvarjanja, obravnavani kot eksplikacije samih aktov snemanja in predvajanja zvoka, ki kot specifični obliki performativnosti omogočata razmišljanje o lastni poziciji zvočnega ustvarjalca in glasbenika. Izbor iz obsežne heterogene mase med drugim vključuje primere različnih pojavnosti mediiranega zvoka, ponovnega predvajanja in posledičnih sprememb izvornih lokacij in časa zvoka, katere druži zadnja stopnja v poteku – poslednje "posnetje" in sploščitev slehernega fragmenta v samostoječo reprezentacijo. Poudarjena pozornost je na snemalcu – poslušalcu, ki v procesu nabiranja posnetkov dogodke v zvočni okolici prepoznava kot znake, iz česar izhaja nujnost razlikovanja, urejanja in ločevanja zvokov in njihovih odnosov na pomenljive in tiste, ki to niso ter po določanju njihovih izvorov ter odmevov. Ravno s postavljanjem te nevzdržljive meje, z razmišljanjem o akuzmatičnosti, transparentnosti medija in neselektivnosti zapisovanja snemalnika, ki iz nepomenljivega časovno-zvočnega toka ustvari zaključeno (pomenljivo) celoto, vznika razmislek o tem, kaj in kako lahko zvočni dokumenti, poslušalcu nudijo v branje. Iz večkratnega zajemanja, predvajanja, ponovnih snemanj in presnemavanj, izhaja nezvesto sledenje samim izvorom zvokov in razmišljanje o tem, kakšen je v tem primeru potencial snemalnega akta, ki za svojo slišnost zahteva in ustvarja novo, bodoče mesto predvajanja. Lovljenje teh sočasnosti, zaradi temporalne narave zvoka, intenzivno umešča na točko pred in po zvoku, na mesto nenehne anticipacije in oddaljevanja od samega momenta zajema."

Staš Vrenko

English:

"The compositions Stage (Oder), Sun-drenched (Osončeno) and Climate (Klima) summarize the past two years of the artist's creative work and research. The condensation of fragments and recordings is tracing the boundaries of field recording, plunderphonics, engaging in and creating electronic instruments and sound design. The complementing and intervening of recordings opens up the possibility for diverse audio material, of simultaneously being documentary and musical, even if it is usually not perceived as such. The principles of re-amping and recording, add their own acoustics to the material, such as sounds of various surfaces recorded with contact microphones, vinyl record manipulation, DIY modular synthesizer and others that usually don’t have it. Field recordings are thus placed in the same order. They, as real acoustic spaces, become subject to certain strategies of sound design and other media manipulations. Such 'equalization’, which deals with all the recordings from a standpoint of the final reduction to the vibrations of the speaker membrane, complicates the relationship between contingency, that is usually ascribed to found sound and field recordings, and desire and composition, which are usually associated with the creation of electronic and composed music.

Compositions are juxtaposed with the sonic part of a wider art project titled Adoption Techniques, which were exhibited in a solo exhibition at Gallery P74 at the end of last year in the form of a sound installation. In the Adoption Techniques, documents of highly processual and site-specific research and creation, are regarded as the explications of the acts of sound recording and playback. They, as specific forms of performativity, enable the re-thinking of the position of the sound creator and the musician. The selection from a vast heterogeneous mass includes, among other things, examples of different occurrences of mediated sound, replay and consequent changes in the source locations and the time of the sound. The sounds are tied by the last stage – the final "recording" and the flattening of each fragment into a self-standing representation. Emphasis is placed on the recordist - the listener who in the process of gathering recordings, recognizes events in the sound environment as signs. This necessitates the determination of the sound’s sources and echoes as well as the differentiation, arrangement and separation of sounds and their relations to meaningful and meaningless. Exactly tracing this unsustainable line, thinking about the acousmatics, transparency of the media, and the non-selectivity of the recording process of a recorder, which creates a complete (meaningful) whole from an inconceivable time-and-sound stream, brings on the reflection on what and how the audio documents can be ‘read’ by the listener. Repeated capturing, playback, re-recording and dubbing, results in an unfaithful tracing of the sound sources and in thinking about what the potential of a recording act, that for its audibility demands and creates a new, future playback site, is. The pursuit of these simultaneities, due to the temporal nature of the sound, intensely places itself on the point before and after sound, in the place of constant anticipation and distance from the moment of capture."

Staš Vrenko

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released March 13, 2018

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Zvočni prepihi Ljubljana, Slovenia

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