The Earth’s surface is affected by extraordinary events, yet the constant wave propagation through the planet is not only induced by tremendous volcanic explosions, but also by gentler instances of wind, water, human activity and other causes of micro-seismic movements. Tectonic plates are a penetrable surface, which shake and tremble, yet the changes are only revealed in a span of geologic time that is vastly longer than human existence. Crust: Sonoseismic Landscape creates a moment, which exposes the dynamic nature of what appears to be solid, and portrays the planet’s own ever-changing existence.
Humans are a big part of the micro-seismic environment. However, in a sonoseismic landscape a person is not in a position to trigger or control the behavior of the planet. Instead they are lured into the crust and invited to tap into its cracking presence. The horizontal movements are triggered by an algorithm based on audio waves of field recordings taken on Mount Etna with a geophone, a highly sensitive device suitable for the audio recording of micro-seismic movements. Such movements are grinding solid material into dust. From the tectonic plates, a new landscape emerges.
Bio
Saša Spačal lives and works in Ljubljana, Slovenia. She is a media artistwith background in humanities, who is currently working at the intersectionof bioart, media art and real-time interactive visualization. Herinstallations have been presented at numerous international exhibitions andfestivals such as International Triennial of New Media Art 2014 – Beijing,Haip festival – Ljubljana, Enter 5: Datapolis – Prague, AmberFest’11: NextEcology – Istanbul, De:sonanz 2012 – Skopje, Device_art 4.012. – Zagreb,Device_art 4.013 – Prague and Enter 6: Biopolis – Prague. In collaborationwith various art producers such as Kapelica Gallery, Multimedia CenterKibla and Ljudmila Art and Science Laboratory, she is developing mediainstallations and interfaces by connecting technological and biologicalorganisms. Her work focuses primarily on the posthuman period, when humanbeings exist and act as one of many elements in the ecosystem and not assovereigns. Therefore abandoning the Cartesian system of classification andaccepting the fact that the field of technology has grown and expanded notonly from hardware to software but also to wetware resulting in hybridphenomena inscribed in mechanical, digital and organic logic.In the field of interactive visualization and sound design she isdeveloping strategies for usage of physical interfaces for generating soundand visuals as a member of Theremidi Orchestra.Together with Ida Hiršenfelder she is developing ČIPke platform, aninitiative for researching the conditions of women who are active in thecontext of science, technology and media art. ČIPKe platform is a space forconversation about women working in these fields where we run a womenfriendly hackerspace with practical educational workshops. Web: http://www.agapea.si.
Ida Hiršenfelder is an art critic who studied sinology, and for a time,lived and studied in Beijing. Since 2007 she is engaged in building amaterial and on-line archive of video art DIVA Station at SCCA, Centre forContemporary Arts – Ljubljana. Henceforward, archives and theirdisappearance – the digital life and the digital afterlife – became herpredominant interest. She collaborates with Ljudmila – Ljubljana DigitalMedia Lab as an artistic advisor, and with Aksioma – Institute forContemporary Arts, Ljubljana as a text writer. She regularly publishestexts on media art, contemporary art and feminism on Radio Student, in theDnevnik daily paper, the Art Words Magazine, and in various exhibitioncatalogs. In recent years, she is also becoming increasingly involved withartists as a curator of small-sized group and solo exhibitions. She oftenhosts round-tables and public discussions; but essentially she remains aradio person – recording immersive sounds and strange conversations at anygiven chance. Over the past few years she has taken on DIY electronics,soldering small electronic gadgets as a member of the *Theremidi Orchestra*noise band, driven by the love of machines, electronics and noisy sounds.Her fem alter ego Frau Strapatz performs also in Image Snatchers technoburlesque. The feminist position has also resulted in co-creating ČIPkeinitiative for women working in the field of technology, science and art,together with media artist Saša Spačal, that is predominantly focused inorganising women-only workshops at Rampa Lab (Kersnikova 4). Recently(2014), she became a collaborator of MG+MSUM Museum of Contemporary ArtMetelkova for Network Museum online aggregator of contemporary artarchives. Web: http://beepblip.wordpress.com.
