CACOPHONY
New Media, New Social Relations
Curation: Ebru Yetişkin
Ayşegül Süter, Candaş Şişman, Pınar Yoldaş, Ozan Türkkan
27 November – 4 January 2013
Açık Ekran, İstanbul
Cacophony is a video exhibition of Aysegul Suter, Ozan Turkkan, Candas Sisman and Pinar Yoldas, who work at the crossroads of science, technology and art. It is about researching contemporary forms of existence, which is generated by the processing and remediating of noise and dissonance.
Today neoliberal hegemony adopts a kind of governmentality, which operates by remediating, commodifying and controlling emotions that are run into work, and reproduce the processes of immaterial and affective labor. Accordingly, one of the targets of contemporary biopower are neurons. The operational and functioning of neurons are occupied from different channels and sources… A processual “obsolescence design” accompanied by a “political economy of ecological excess and waste” is at stake here. Those that are imposed to the distributed and depleting violence of repetition are occupied and transformed into the remediated agencies of control, not to become-wasted, and to possess the power of the hegemonic.
Those that are transformed into the remediating agencies of neoliberal hegemonic control consider the epidemic virality of the flows of imitational resistance and mutations as “noise”. Therefore, noise emerges to be a problem of excess as well as junk to be ignored and removed for those that sustain their existence and authority by way of representational mechanisms. Noise should be governed and managed strategically. Generating within and by noise, cacophony emerges by dissonances and the ungovernable. Cacophony derives from κακός (kakos, “bad”) and φωνή (phonē, “sound”). As a techno-scientific and artistic intervention, cacophony encounters with the alterities produced by hacking, trolling, jamming, glitch, and errors. It reveals ontological and heterogeneous power of singular resonances within noise.
Ebru Yetiskin
WORKS
Refractions, Ayşegül Süter, 2013
Deviation and refraction of information and data by the abundance of flowing messages, discussions, forums, panels, news and research… Distracting from the meaning by generating a seductive space of blurriness and attempting to remediate these spaces… The sensuous experience of the audience, which is exposed to the refractions of sound and colors in motion filling the temporal space, is itself the work of art. The (non)operational and dys(functional) experience, which gradually becomes irritating, makes the viewer a part of the work as well. The motions encapture the space is created by the “neuronic refractions” and reflections of the light source repetitively hitting the mirror-like plane. The reflected imitative and repetitive refractions of colors and bits of sounds transform into the performativity of blurriness and fuzziness.
Edicisum, Candaş Şişman, 2008
Ses: Isambard Khroustaliov
By way of the sounds and the images of tapping, scraping and pulling of some kind of wires, cords or strings, something gets on the nerves of the urban dweller. Focusing on the interplay between the organic and the inorganic, Edicisum traces the circuits of the brain. Micro-temporalities of speed do not allow grasping an image or a sound, each time, it is already trespassed. The flow of time-images, which displaces the running time with micro-split second interventions do not leave us with a critical distance and contemplation, but acts immediately on a prereflexive or a pre-linguistic level of thought. This multi-circuit of affects and precepts is also activated by a shock, a ‘’nooschock’’, ‘neuro-physiological resonances’ in the brain of the viewer by the timing of the intervening images and sounds, and thus forms various movements. Returning to an embryonic status and putting the viewer in the wellprotected plasma of a mother’s womb, an affective confrontation produces such simple and pure emotions, instead of logical thoughts and pieces by the multi-circuits of molecular processual interactions of organic and inorganic materials.
SuperStimulus, Pınar Yoldaş, 2013
This video shamelessly employs superstimulation as its aesthetic methodology, a multi-layered cerebral Superstimuli as well as a fresh multi-modal cultural criticism. SuperStimulus, short for supernormal stimulus, is an exaggerated version of a stimulus to which there is an existing response tendency evolutionarily. Superstimuli hold a social and political significance as the aesthetic modus operandi of Hardt and Negri’s “Empire”. In the grand commodification of life, designing, producing and distributing Superstimuli has been a crucial move to fabricate, replicate and eradicate desire. What Tiqqun calls the The `anthropomorphosis’ of Capital, is only possible by superstimulating the masses.
Bipolar Fraktal, Ozan Türkkan, 2013
Bipolar Fractal is an abstraction in moving images on bipolar states of mind. Alternating episodes between mania and depression, ascending and descending states of experience are processed through geometrical mutations and dynamic movements of Rutt Etra-like synthesized fractal forms and corresponding frequencies of sounds. Bipolar Fractal works with how abject information and aberrant signals mark destabilizing moments within the same system that it captures or banishes errant expressions.