( 2,2) 0 – Timeless Machine

Norway 2017

Binaural Sound  Installation 

Sound composition in invisible architectural space

“Dislocation echoes emancipation” – Ernesto Laclau


(2,2) 0 is a project made from a collaborative process between moving image artist Nazare Soares, sound artist Øystein Kjørstad Fjeldbo and artist and shamanic practitioner Amalia Fonfara. We are developing an interactive installation which utilises real-time rendered binaural sound systems. Space functions as a cognitive map, where the navigator will be exposed to types of temporal illusion through a sound composition in space given by ambisonic binaural techniques. The gaze will be reformulated and question within an invisible architecture, the virtual space. Disorientation and de-centre will be forced pushing the body to re-orientate itself. By the use of the absence of light and sound frequencies, we avoid spatial and time cognitive experience to be projected outside of the body. Taking the structure of a (2,2) mode shamanic drum as a reference we have built an invisible architecture that is experienced sonically. Timeless Machine will offer different layers of experiences, exploring affect within body processes of becoming. We utilise wireless motion and position tracking through an Ultra Wide Band-system. From this information (XYZ body in the room and XYZ head direction), we are rendering binaural sound in real time from Pure Data, directly out to wireless headphones on the navigator. In this way, we have created a composition of movable virtual sound sources throughout acoustics rooms. One navigator at a time can move around and interact with these sources through their presence in the rooms. 

(2,2) 0 offers an alternative individual experience from that understood contemporary notions of the virtual and arises questions about colonising the gaze through strategies of affection. In immersive environments, the body is mediated by spatial cognition. The subjective experience of “spacetime” is given by means of spatiality.  In immersive experiences, we placed the subject at the very centre. It echoes past experiences obtained from panoramas built for means of colonial and imperial entertainment. Feminine gaze offers a circle without a centre, where the form is already content, where the point of view isn’t determined or fixed. 

The work will be premiered at Lademoen Kunstnerverksteder in Trondheim, Norway. from 21st till  26th of may 2017. Also,  has been invited to take part at the Microbites of Innovation organized as part of the ACM Creativity and Cognition 2017, taking place on 27 June – 2 July 2017 at the Artscience Museum in Singapore. (2,2) 0,  was first presented under working title Timeless Machine at Lighting Shorts. Futurescapes. A symposium in New Media, Technology, and the Humanities as part of Metamorf Art & Technology Biennale in Trondheim. Norway, March, 2016. The machine’s initial idea was conceptually constructed from an inspiration based on principal behaviours of atoms and particles in quantum physics.

“How electrons experience the world: that is, dis/orienting experience of the dis/jointed of time and space, entanglements of here and there, now and then, that is, a ghostly sense of dis/continuity, a quantum dis/continuity, which is neither fully discontinues with continuity or even fully continuous with discontinuity, and in any case, surely not one with itself. There is not overarching sense of temporality, of continuity, in place”

(Karen Barad, 2010)