infty

indexentry

infinitely stretchable length

indexspace

space around

tempo primo
custom wooden spoons, 6-channel sound, speakers, electronics
2023

Tempo primo explores the relationship between place and auditory culture through musical measurements and their process of standardization as a 6-channel sound installation. The piece focuses on what is historically called the odd rhythms and the objects used to perform them, the wooden spoon. It consists of custom-made wooden spoons and a polyrhythmic spatial composition created using rhythmic parts played with these spoons. Played back simultaneously as one, overall, spatial composition, the proximity of these auditory bits produces a maze of different resolutions, gradations, scales, similarities and differences. 

Tempo primo uses a form of translation between sound and shape to offer a space to contemplate the meaning of these rhythms in the history of geography while investigating the reflection of this change through the lens of plurality and togetherness.

Tempo Primo

Selfmaking is a 3d printed sandstone sculpture of a hybrid character, created by fusing two powerful and historically influential figures; Alexander III of Macedon, commonly known as Alexander the Great and Pericles of ancient Greek. The digital models used to form this piece were obtained from the British Museum’s archives, where the ‘original’ sculptures live today. 

The piece acts as a signifier without an excessive concern for realism, focusing on how creation, circulation and preservation of cultural information underlies geographical contexts, patterns of displacement, and statelessness. It reflects on how individual narrative and collective memory are shaped through cultural property, cultural currency, and their inherent symbolic meanings.

An audio guide was created by feeding the official descriptions for the original objects from the British Museum into OpenAI’s language model called GPT-2. This artificial intelligence generated audio guide allows the piece to state its presence in an augmented way that intensifies its unrealness and makes a further commentary on creating a counter narrative for future material objects of culture.

Yağmur Uyanık

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