.murmer / Patrick McGinley

Patrick McGinley jaoks pakub selleaastane PS6 teema “Inimloomaaed” suurepärase võimaluse saada paremini aru vuajerismist ja inimkäitumisest. Osalus-heliinstallatsiooni loomises lähtub ta enda kogemustest teatri alal ja varasematest Mooste muljetest (MoKS külaliskunstnik mai- juuni 2006, PostsovkhoZ5, august 2005). Patricku sõnul on PostsovkhoZil kavandatava töö loomisele suurt mõju avaldanud briti performance grupp Rotozaza, kellega Patrick on varem koostööd teinud. Patrick paneb kusagile vanasse majja, üles osalus-heliinstallatsiooni. Kavandatav töö mängib manipulatsiooni, kogemuse ja aistingutega, nägemise ja kuulmise vastandamisega. Kunstniku loodud tehiskeskkond lähtub ümbruskonnast pärit helidest ja on mõeldud samaaegseks kasutamiseks kahele inimesele.

Patrick McGinley on Ameerikas sündinud muusik ja teatrikunstnik, kes elab ja töötab Euroopas alates 1996.aastast. Aastatel 1996-1998 elas ta Pariisis, kus õppis teatrikunsti, nende õpingute raames alustas ta ka helieksperimentidega. Ta on loonud heli erinevatele teatritükkidele ja esitanud ka ise teiste helitöid. Tema looming on keskendunud keskkonnast selliste helide raamistamisele, mis tavaliselt mööduvad kõrvust märkamatult aga mis kontekstist välja võetuna muutuvad tundmatuteks ja ebaharilikeks: krõbisev süsi, nagisev eskalaator, sumisev putukas, sinu enese hingamine
http://www.murmerings.com/

Patrick McGinley

building on my experience at PS5 and on my theatrical background, this years theme of 'the human zoo' provides a perfect opportunity to explore the ideas of voyeurism and the understanding of human behaviour from within the framework of the participatory/performative sound installation/experience. from the start i must credit a strong influence on my (continuing) development of this idea by the british performance group rotozaza, whose explorations into the use of instructional sound within a stage presentation have left quite an impression on me (see www.rotozaza.co.uk). this structure also enables me to create a piece more clearly tied to the environment of moks and mooste than last year's ternal, which, while moks' basement setting was the perfect aesthetic location for the piece, was an independent creation that could theoretically exist elsewhere. so, in a nutshell...

this (as yet untitled) piece consists of two interrelated elements: the visual experience of it's physical location/activity, and the aural experience of it's central sonic skeleton. these elements are interrelated, but not intertwined, in that they are experienced separately. a defined space (a figurative, if not a literal, 'cage') exists in a chosen location (i am thinking now of the small barn that last year contained our japanese friend's seesaw/balance sculpture, but many other spaces could suit it), perhaps delineated by a small ground cover, or four objects creating corners, or literal bars. at any one time, two participants may enter this space. when in the space they are each presented with two objects: a blindfold, and a pair of headphones. whether they are actively provided these objects by myself or some other assistant, or whether these objects are simply present within the space to be used or ignored, remains to be seen. but they will preferably be provided in such a way that they are interdependent - that the headphones may not be worn without the blindfold and vice versa.

once wearing blindfold and headphones, the participants find themselves in another world. they find themselves in a blind soundscape constructed of sounds from the surrounding environments of moks and mooste. the sounds are recorded binaurally, creating as real an experience for the listener as possible. the created soundscape, however, is imaginary - this is not a simple field recording of a stroll around the village, but a figurative recreation of the sonic possibilities of our literal location - as in a dream. but within this soundscape there is also the creation of a more literal relationship: having entered this caged space, the participants are confronted by their captor. an occasional voice arrives to guide the participant through their experience, providing them with some direction and order. these directions relate to the space of the cage, to the inflicted blindness, and to the (possible) presence of another participant. they are simple instructions (sit, kneel, yawn, reach for the hand of your partner) that are there to be followed or ignored.

so within this cage we have two participants, ie two soundscapes. these soundscapes are individual and very different. however, they are linked by the captor's voice - directions being given bring about interaction and/or conflict, and will most likely lead two participants to presume that they are occupying the same world. only afterwards will they find out (or not) that in fact their universes inside the cage were completely different.

so we have a cage and it's residents - we also, of course, have the visitors, who may have been, or will soon become, residents of the cage themselves. from outside the cage we hear nothing of the soundscape, we can only observe, perhaps undetected, the inexplicable behaviour of the blind participants, reacting and interacting based on the instructions they are receiving. from outside we cannot understand, but of course desire an understanding, of those that appear so close but remain at such a distance...

technically, the piece is fairly simple. the bulk of the work would be in the creation of 2 ten minute soundscapes - exploring mooste and it's surroundings, capturing raw sounds and voices, editing the pieces together on a computer - all small and compact equipment that i will have with me anyhow. the site of the piece should be fairly simple to arrange, and the technical setup there can be as simple as providing participants with a minidisc player to slip in a pocket, or perhaps in a small bag worn around the neck (i can provide 2 portable minidisc players if moks doesn't have them). 2 pairs or closed cup headphones, for the best possible sound isolation, will be needed. the soundscapes will be nonlinear and played on a loop. started simultaneously at the beginning of a day's period of presentation, the interaction of the 2 sets of instructions will be assured. the soundscapes and the cage can be entered of left at any time by a participant - there is no beginning or end, and the cages bars do not hold...

-- http://www.murmerings.com