`The Aeon´
2018, 12 minutes
Video: LIJEL
Sound: 4 audio recording modules for greeting cards á 10 seconds & 3 á 60 seconds
My final work at the Exhibition at the HFBK Hamburg in July 2018 questions the personal and formal identity which is given in this social form i am living, so to say also `in this kind of reality´. And the personal identity where Genes and Environment interact and which is as well strongly based on experiances and memories.
A so called `Noisebook ́
My Idea was a book without words.
With no description and no indications given in form of words, signs, pictures, drawings, paintings or similar visual performing. Just in form of a book which brings out sound when opening it. No kind of reading in the typical way is possible.
And if the sound will just give out noise, the imagination of what might be recorded will be less circumscribed. No voices, no nature or trafficsounds will be identifiable. What stays is a book with noise inside. When opening 2 sides or three sides the noise might increase. Listening as an acitvity and interactivity that produces and invents and demands of the listener a complicity and commitment, lets us rethink existing philosophies of perception. We who use the same language, have the possibility throughout words and constructed sentences to decode and so explain our thoughts and wishes very clear and exactly. In the 21st century we are also able to translate easily and fast into other languages throughout the internet and its online dicctionaries. Language is one main way to deciphere a message. But what if we change the transmitter receiver model just in the way of changing the medium of information. What i like the most is the idea of a larger spectrum of imagination and having the possibility for it whilst just listening to a sound or/and a noise not seeing it in real, only using the sense of hearing.
Our imaginations to the sound and noise we listen to might vary and is limited and subjective. Limited because some noises and sounds remind us of previously experienced proceedings and so we know to decode a childrens laughing, a scary screaming, some traffic noise or dabbling water.
Our Idea of a room portrayed in a novel might vary distinctly.
We have a direct decoding throughout the given words.
I can exactly get to know the room. Maybe it is described so well that i might know it is a kitchen or a living room or both in one, where and how things are placed in this room. But it depends how much free space and imagination the writer leaves us.
If we will just listen to noise a clear definition will fail.
If we will listen to sound the area might be more circumscribed which depends on the sounds we listen to. The same with the Background noise.
„Sound demands to be heard and urges a confrontation of the heard with critical language. ..Sound is the solitary edge of the relationship between phenomenology and semiotics, which are presumed to meet each other in the quarrel over meaning.“9
„Noise simply manifests the failure to communicate, it becomes the negative of what is beautiful, permissive and harmonic. In that sense it is modernist discourse because it is what has to be excluded, as it is counter that which fulfils the demands of the medium to reach its own autonomous ideality.
But it is not listened to. It is unclean sound, not treated to reach its positivist purity. It is a bad realization that questions the trustworthiness not only of the producer as interpreneur, but also of the audience who apprehend it. The material in contemporary noise art is tainted by extra-musical reference. It lacks autonomy and its obsessive nature refuses intellectual contemplation. Instead it grabs the listener and holds him hostage to his own listening,
if it does not do that it is not noise.“10
_____________________
origin:
9 & 10 Salome Voegelin, „Listening to noise and silence: Towards A Philosophy Of Sound Art“
( New York: Bloomsbury USA, 2010)
Identity as an act of social construction
"Who am I?". As simple as this question may sound, it also opens up complex questions of the person's inner structure formation
We are different but consist of the same. A universal fact not only seen so from a spiritual point of view.
Consisting of the same until KI within us or mixed creatures will be born.
` ש ´
2017, 12 minutes
Video: LIJEL
Sound: Ventilating System from outside/bottom
Kamera: Katleen Glameyer
On the top of a roof near the harbour in Hamburg, over a ventilating system
i felt the urge to make a butoh performance to the sound from the ventilator
under me.
`Chairs Performance´
2015, 27 minutes
Video: LIJEL
Performance: Li & Yi Jou Chang
A composition in lines made of chairs.
A sound composition produced by the movement of the entity.
A visible organized structure moved into a chaos-structure and
a visual composition which is left to be. Free improvised sound- and movementdecisions
The decision why letting the chair fall, move slowly, to rest with the
now-created sound, move over, under a chair, fast or calm and the
answer.
The answer to a sound, to a movement of the chair.
The end.
What stays is a new composition of the moved chairs.
The composition of the sound is finished but the chairs are visually left,
with no more sound included. Could that what stays, exactly the chairs,
show a soundcomposition, which is already finished?
`Igra Satom´
2015, 17 minutes
Video: LIJEL
Performance: LIJEL
A butoh performance with sound played from an old clockwork with a
piezo microphone inside.
The Title means `game with the clockwork´
On the other hand it is a game with time, with the sound of a working old clockwork which is modulated with 3 effects, a multi delay, phase
shifter and distortion pedal. Just in the middle of the performance the sound of the
clockwork is shortly
raising to the surface. The inhale and exhale and a few emotional noises are coming out of me as well. A calm noisey butoh performance takes its time.
`Kieselpool´
2014, 17 minutes
Sound: by Li Daiguo
A Shortmovie by LIJEL
`Paukov ples´
2016, 18 minutes
`A spider´s dance´ is a Butoh performance by LIJEL to a live Noiseset from D.Wallraf