Live Recording, Solo improvisation Electronic Guitar, (e-guitar, PD processing)

Sicher

guitar and electronics solo at semperdepot vienna, ca. 1995, Epiphone Sorrento, Shadow Midi Converter, Yamaha TX16W, Digitech Studio Quad

Semperdepot live

In the work Chronolith, consisting of a complex multi-channel sound composition and stone slab installation, the bioacoustic group Jata C investigates the acoustics and temporal dimensions of stone structures, as well as their sustainability and interdependence with humans. Jata C (beepblip, OR poiesis, Boštjan PEROVŠEK, Bojana ŠALJIĆ PODEŠVA, Brane ZORMAN) poses the questions: How to listen to stone and think in geological time? Is it possible to understand the wider social context of man’s unsustainable exploitation of the environment through the sonority of stones? And if so, can this help with creating a juster and more reciprocal relationship with nature?

The artists obtained the sound material for the composition via field recordings of various locations and quarries. The installation serves as stone instrument, a sensorial extension to the human body, with which the composition and the vibrations of the stones are fed back into the materiality of the slabs with the help of transducers, forming a feedback loop. During the production of the work, the artists collaborated with scientists from the fields of micropaleontology, geology and physics, as well as the supporter of the project, the company Marmor Hotavlje. The work Chronolith is produced by the CONA institute for the program of the Steklenik gallery.

Chronolith

Jata C: Chronolith

As certain spaces and times have become oversaturated due to urbanisation and the population explosion, certain (animal) species have began withdrawing to unpopulated landscapes and unoccupied times – into the night. We understand these withdrawals as a search for solutions that could lead to a ‘better quality of life’, an existence that would be better than the one offered to us by the oversaturated space-time.

Premiere sound art work curated and commissioned by CONA Institute for radioCona:wolFMoon FM exhibition, January 2017.

Mentored and coached by: Elena Biserna and Brane Zorman

More about radioCona:wolFMoon: https://goo.gl/UvJpy7
Produced by CONA, 2017
http://www.cona.si/

Brane Zorman: It’s in my Nature

Bostjan Perovšek - Bugs, A Walrus And A Door - Trento 16 (live Electronics)

Published on SoundCloud by artists permission

Bandcamp: https://bostjanperovsek.bandcamp.com/album/bugs-a-walrus-and-a-door-trento-16-live-electronics
Bostjan Perovšek: http://www.perovsek.si/

The composition based on the original song “Bugs, a walrus and a door start dancing” (30 minutes, 8 channel version, 1986), uses sound material created by bugs, a walrus and a door at the Vodnik Homestead in Ljubljana before it was oiled. Prof. Matija Gogala “equipped” me with an array of magnetic tapes with different tunes. These tapes consisted of approx. 80 hours of material, from which I took roughly 20 different length samples - ranging from a few seconds to half a minute. Once they were classified and listened to, the sounds of the walrus and the door were added. 

I classified this piece of music as a bioacoustic piece, although it could easily be considered electroacoustic. However, since I want to remain consistent to the original idea, I insist on this definition. The composition is not called bioacoustic due to the fashionable bio trends, but rather because it is founded on sound materials obtained from scientists who investigate animal sounds. This scientific discipline is called bioacoustics. The credits go to the included voluntary live performance in 1986 (by the members of the experimental music group SAETA) and involuntary performers (animals) – a result of being consistent in defining the project’s starting points and the music itself. The short stereo version of the composition, which can be found on the CD “Boštjan Perovšek – Touchings”, and on the vinyl LP “Bio, Industrial Acoustica (green)” was also included in the Ars Acoustica 1995-1996 Listening Proposals program within the frame of the European Broadcasting Union. 

The composition “Bugs, a walrus and door - Trento 16 (live)” is a special version based on the 30 minute original version. It can be realized as a 15 - 20 minutes long quadrophonic or stereo version, in which original samples are mixed in a new way and in new combinations. This version also includes a new soloist: a bug “Legnotus Limbosus”. First performance was during “1st International Symposium on Biotremology", Fondazione Edmund Mach, San Michele all’Adige, Italy, July 2016. 

released August 10, 2016

Bostjan Perovšek - Bugs, A Walrus And A Door - Trento 16 (live Electronics)

Create your own story / Follow your feelings / Feel the sensations / just Be

Amaranthine, Petra Strahovnik

Audiopiece produced for Deutschlandfunkkultur in April 2020 during the Corona-crisis. The listeners are asked to step in front of a mirror - then a choir of voices, which people from all over the world contributed, describes the reflection, always starting with the sentence: "I see someone, who...". 
With contributions by: Daniel Bernhard Cremer, Stephan A. Shtereff, Tatsuki Hayashi, Andreas Stuhlmann, Kristin Westphal, Marleen Wolter, Hannah Schassnerius, Brane Zorman, Philipp Hartmann, Dani Brown, Friedrich Tietjen, Basak Senova, Bernadette Hengst, Ralf Homann, Ariel Dávila, Akira Takayama, Ilona Sauer, Claudia Bosse, Mariola Brillowska, Natalia Romik, Martina Angelotti. 
Narrator: Christiane Nothofer. 
A production by LIGNA. 
Ligna.org
blogspot.ligna.com

LIGNA_Spiegelstimmen_lang

Bojana Kunst: Rastline in umetniške institucije: domneva o skupnem
predavanje
Galerija Steklenik, Ljubljana, 5. september 2019, ob 19:00

Kako je mogoče misliti rastlinsko življenje v navezavi na institucionalno življenje? Zdi se namreč, da ti dve obliki bivanja ne bi mogli biti bolj različni, ena rastlinska, druga družbena, pa vendar imata več skupnega, kot se zdi na prvi pogled. V predavanju bi rada pokazala, kako se mnoga umetniška dela in to kako so narejena, navezujejo na življenje rastlin in s tem odprejo institucionalno imaginacijo za nove načine sobivanja. Prisotnost rastlinskega življenja lahko spremeni celoten institucionalni značaj umetniških del in vpliva na to, da naša prisotnost ob umetniških delih dobi nekaj skupnega tudi s svetom okrog njih. Predstavila bom umetniške eksperimente, raziskave, še posebej pa gledališka dela, ki ne ločujejo med različnimi oblikami življenja in tako spreminjajo tudi načine naše udeleženosti v njih.

povezava: 
http://www.steklenik.si/bojana-kunst-rastline-in-umetniske-institucije-domneva-o-skupnem/2

Jata C: Chronolith

CONA zavod / institute

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