6 channel surround, PVC pipes, water, sound loop, Rf pyramid absorbers, 3d printed sculptures, Wax, metal Fence, disposable gloves
looking at the satellite imagery, which mode of listening is at play? the blast caused by the launching of the shuttle creates immense acoustic energy which must get mitigated so it does not destroy the rocket and the infrastructure underneath. the sound suppressing system is a necessary condition for the endeavor against gravity.
In a similar fashion electromagnetic waves should get absorbed by pyramids which cover the whole surfaces of the anechoic chamber, enabling the observer to modify the amount of reciprocity between the signal sent by the satellite and the earth which responds to it. no wonder why both processes rely on the translation of waveforms to heat. the water in the launchpad gets heated so as the pyramid in the anechoic chamber…Rainbird is the appropriated term for water injection system; a facility which promises to flood the shuttle for 37 seconds, to bring safety and security to the process which tends to take distance and gaze upon the life below. originally this term is referring to the myth in which the Rainbird actively brings about the rain upon its act of singing and realizes the rain, meaning life and vegetation.
the mythical figure is being twisted in the modern interpretation, it resembles a godly power, an all-encompassing potency to move things around, to be an organizing force. so there is no doubt why the highly exclusive aerospace technology is adapting the story of the Rainbird through the lens, in which the man substitutes the god and acquires the authority to decide upon what should be considered life and non-life, the realm of the frequencies within the spectrum of the visible and audible and beyond.
if we consider the position of the witness to be affected, from within where the
explosion happens. where there is no will to expose the graphic but rather there
is the wish to resonate and echo with what has been experienced. you ask me
to give the full record of our conversation, I preferred to write you a song, make
you a piece of music…
what if the witness has an ear clog, what if they lack the full capacity to receive the
words which they have been exposed to.
the sound which is defined too destructive and the radio wave which is
considered noise. all the percussive sound we have created, all the tappings,
kickings, slamming…the water which mitigates the sound, or the water that
triggers the ear wax and causes the clog in my ear-canal and consequently
temporal deaf. but I was listening to you and I tent to reciprocate and
reconfigure our conversation, to echo the periphery of this acoustic event.
this is an invitation to return to the earth where the birds gather around the water source…
Many Thanks to:
Lida Ghaderpanah, Natascha Sadr Haghighian, Andree Korpys and Markus Löffler, Alireza Farajnejad, Dorsa Eidizadeh, Nida Ghouse, Raffie Davtian, Nadim Choufi, Semi’s Kiosk, Elizaveta Kovalenko, Patrick Peljhan, Anastasiia Guzenkova, Virgil b/g taylor, Zainab Haidary, Arash Ghelichkhani, Victor Artiga Rodriguez, Vafa Aminikia, Neda Saeedi, Hassan Sheidaei, Soheil Memari, Julija Paškevičiūtė, Noelle BuAbbud, Suyeon Kim, Sören Peik, Daryna Demianchuk, Ziyi Li, Torge Meyer, Jukka Boehm, Harry Heimsoth, Markus Walthert, Karl Robert Strecker, and the University of the Arts Bremen.
This project was made possible with the support of:
Der Senator Für Kultur Bremen
Shorouk Elzeftawy , Farah Nammar
Nicoló Cervello, Farzad Golghasemi
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