We are constantly surrounded by an audible environment. We, humans and non-humans, are its witnesses and its makers. Every action that we take or that is taken upon us leaves a trace, and those traces all have their sound components – just a tiny fraction of this is physically recorded, the rest we try to recreate or resound by leaning on our knowledge of written and spoken history, relying for the most part on our imaginations. With imagination, the past, present and future intervene. We are free to introduce subjects and objects into our fantasies and their accompanied soundscapes, which may or may not be of this world. These fantasies can remain private; they can be shared as works of art or as tools for creating alternative realities of what we perceive as objective truths, in this way creating uncertainty and altering our judgment of the present (and past) and influencing the way we interact with it.
The Tingles & Clicks platform gives the listener the interactive possibility of gliding between three different sectors of soundscapes, i.e. alternative realities, plus it creates six different sound objects aimed at enhancing a feeling of special presence. In my Listening Heterotopias I address on this concept applying the format of the radio drama and introduce one unspecified historic episode with three different 8 minute alternatives. The first one will depict “true” historic narrative, the second will offer the “losing side” version and the third will be completely fictional. This will in a very haptic way symbolically recreate how our realities are rendered for us and by us and maybe give us a different sense of the world and of us in it.
kӣr is the solo production epithet of Bane Jovančević, resident live artist and program manager of the Drugstore Beograd club. By combining traditional and experimental influences in electro-acoustic music, kӣr creates a sound in which drone-navigated post-industrial logos transforms into a tribal mythos, in search of the traces of the future. The clash of synths and acoustics invokes an audio landscape of Byzantine sacral traditions and Balkan folklore rhythms. kӣr’s symbolic language layers up with an ancient temporality and its logic of being that is not of the past but of our own time. The basic concept is to challenge conventional and predominant rhythmic structures in music by juxtaposing traditional rhythms with contemporary electronic sound design.