hyphen

independent audio-visual platform



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LANDSCHAFT

Teaser for the upcoming release by NAAUM



Landschaft - a limitrophic sonic investigation is a hybrid assemblage of soundscapes, field recordings and sonic explorations patched with spoken text cut-ups from various fields of theoretical inquiries questioning the way human and non-human perceives, performs upon and experiences the landscape. ‘’The term cut-up serves as an open container for a long list of terms and actions that describes the combinations and reassembly of existing motifs, fragments, images, and ideas from diverse and disconnected origins into newly synthesized entities.’’* Recycling the old in order to create the new with this cut-up procedure, surprising synapses and narratives are revealed, reinforcing the tight link between memory and imagination. “Though we still tend to think of ourselves as coherent beings and believe that our awareness is a continuous mental state, we are constantly evolving. We shift from one precept or thought to the next, from actuality to dream, association to deduction and recollection to imagination. Human consciousness is an ever changing cut-up of mental fragments held together by a fluctuating sense of self.”* Notions of displacement, fluidity and transition reveal insights about the contemporary conditions of our fragmented reality, and bring forward questions about conventional notions of apprehending the places that our society inhabits - the landscape.

* Radical Cut-Up: Nothing is Original / edited by Lukas Feireiss

Landschaft is the first in a series of audio experiments performed by NAAUM: an experimental duo composed of Anastasia Dumitrescu and Vlad Fenesan.



DETRITUS (excerpt)



                                                    

A walk through the forest in summer reveals that the ‘ground’ is not really a coherent surface at all but a more or less impenetrable mass of tangled undergrowth, leaf litter and detritus, mosses and lichens, stones and boulders, split by cracks and crevasses, threaded by tree roots.
Roots ‘walk’, as humans and other animals do. Both plants and people, we could say, ‘issue forth’ along lines of growth, and both exist as the sum of their trails.Putting together all the trails of all the different beings that have inhabited a place– human, animal and plant, ordinary and extraordinary – the result would be a dense mass of intersecting pathways.

Text adaptation form “The perception of the environment’’ by Tim Ingold




LIKE THAT OF A CHILD /
NUCHUKANA













Like that of a Child / Nuchukana, is a performative investigation of the body as sensuous, sensitive, agentive and expressive in relation to the world. Colour, texture, and depth - the materiality of the world is known to us only in and by the body that enters and inhabits a given place. Trees, given their size and material form are major generators of sensations, spaces and perspectives with which, through our senses, we engage with places and with nature. Landscapes are complex interweavings of subject and object- the material and the imaginative bound into our everyday encounters of local places. (Tree cultures / The place of trees and trees in their place - Owain Jones and Paul Cloke)

There is an inextricable link between people and trees, especially old trees. From all the thousands of uses we have put them to, and all the fears and desires we have projected onto them, human cultures around the world have emerged from the trees. Now that we know our abuse of trees has brought ruin to them and us, we turn again to the venerable ones, searching for some resilient spirit, eternal, or near as damn it.(Evans, P. 1999 - "Long live trees", Guardian, 29 December)

In Amerindian cultures, tree bark can be seen as another type of skin that is shed and which, like the skin of snakes and the uterus, generates new forms. The connection between tree and uterus is present in one myth about the origin of humanity where it is narrated that the ‘first people were created in a hole in a tree; and in the transcription the term used for this hole (xankin) is that normally used to refer to a womb .
The interior of a tree, its hardest part, its core, is called kwa in Kuna language. There are only two ways in which the kwa of trees is used by Kuna people. One is to make house posts,another is to carve nuchukana, best understood as ‘figures of interiority’, which stand in a metonymic relation with the invisible and immortal component of persons, purpa, or ‘soul’, or ‘image’. Amerindians regard trees as containers of ‘soul images’, and the association between hollow tree and uterus assumes new connotations. The process of ‘forming the baby’ in the mother’s uterus for the Kuna is akin to the proliferation of soul images inside trees. As trees for Kuna people host infinite primordial souls, when an elder man carves a nuchu he facilitates, as it were, the birth of a new subjectivity. (Artefacts and Bodies among Kuna People from Panama - Paolo Fortis)

Video by NAAUM (Anastasia Dumitrescu & Vlad Fenesan)
Cinematography by Patru Paunescu
Text excerpts from Cristopher Tilley - Interpreting Landscapes: Geologies, Topographies, Identities; Explorations in Landscape Phenomenology
































“when viewed in deep time, thinghs that seemed inert come alive. new responsibilities declare themselves. a conviviality of being leaps to mind and eye. the world becomes eerily various and vibrant again. ice breathes. rock has tides. mountains ebb and flow. stone pulses. we live on a restless Earth.” UNDERLAND by Robert Macfarlane


ENTRE ACTE

an audio-visual dialogue



To kickstart the Hyphen platform, visual artist Anastasia Dumitrescu and multidisciplinary artist Vlad Fenesan present their first collaboration: an audio-visual dialogue that is part of an ongoing series of collaborations that will be hosted on this platform. The artists had developed the platform as a container for their projects as well as for collaborations with other artists. Living remote at their studio in the hills of Transylvania, the artists propose a journal of their activities, artistic projects and daily inspirations. This first mix is recorded at their home studio, while the images were captured in the mountains nearby.

Entre acte I  is Hyphen’s first experimental mix, a collection of tracks that alludes to organic sounds and structures, narratives deeply connected to personal experience, an eclectic assemblage of atmospheric  tracks with more syncopated rhythms, fluttering and obscure low frequencies, this mix is a hybrid of textures and atmospheres that invites to abandon all expectations and simply let the mind wander, creating an immersive soundtrack for each one to journey.  As with all of our sonic experiments we create an artwork that enters in dialogue with the mix sonorous vibe and atmosphere. The present artwork is part of a triptych that raises questions about the dual nature of shapes found in the natural environment < being constantly on the edge, in the fissures and crevices, entwined in the intermediary zone of negative spaces, where each thing manifests in plain sight its own way of being - hyphen between certitudes and that which always changes, that fluid state of constant variations. An attempt to slow down and  listening to what lies beneath the surface that can reveal new possibilities of understanding sound and image in an ongoing dialogue and exchange.

Our search focus on relieving aspects of our perception of the surroundings that had been put aside by the way our society evolved. In our daily walks around the hills nearby our studio, we try to record encounters with stances and non-human objects that speak to us alongside our walks. We are interested though to present the interaction and inspiration we draw from nature and the multiple facets that this dialogue could engender. By processes of manipulation and digital intervention of the recorded images elements of decay revealed the movement and life of lines that echo the interior structures and arterial veins of a sculptural fossil skeleton. In fusion, these surfaces yield an entity of a new order, tendrils and tentacles that form a meshwork which can bind our gaze.

We propose for each stance that the viewer enters into a contemplative way of looking, a slow process of letting the image invade our senses, in a rhytmic alternation.the images are to be encountered not with intellectual agility but instead with a still and silent gaze. do not hold your breath, as you enable yourself to go deeper and engage. Not having other context around it, this fossil calls for attention on it s own, and the need to associate meaning and representation analogies to be silenced by a sonorous tactile gaze. The images are also present in the form of museum archival prints available on our shop. Each print is signed by the author.