The project develops around the transmediation of scientific reports on entrainment into sound installations.
In the field of chronobiology, entrainment denotes the faculty of living organisms to relate their internal rhythm to environmental rhythms.
Transmediation is placed at the center of the project so to analyse the tipping point of its feasibility, testing the medial affordances of text and sound.
In the project, entrainment and listening hybridise the practices of biology and sound art:
on the one hand, the transmediation of entrainment allows to compare the practice of working with rhythms in chronobiology and in sound art;
on the other hand, the act of listening, required to experience sound art, draws a parallel between the attitude required to experience sound art and the contemplative practice of observing phenomena in biology.
Shortlisted candidate for the Graduate School "PhD research collective", program starts on 04.03.2024
The exhibition reflects on the limits of adaptation to unnaturally long day-night rhythms.
[Developed during the residency project "Long Term Short Stay"
Funded by "impulsgelden" Provincie Noord-Brabant, NL]
The workshop draws attention to body rhythms (heart beat, breathing, walking) to closen the relationship to one's own body rhythm and thus deliberately relate it to environmental rhythms.
[A cooperation with TONSPUR Kunstverein
Funded by OEAD + Bundesministerium für Bildung Wissenschaft und Forschung]
An installation developed around an ecology and chronobiology study (Zimova et al. 2016) comparing the seasonal synchrony between landscape colour and fur colour in scottish mountain hares before and after impactful changes driven by climate change.
Following the exhibition I wrote an autoetnographic essay reflecting on the transmediation process adopted to develop this this installation.
Chronobiologists have summarised the molecular mechanism of the circadian clock in a model they named transcription-translation feedback loop (TTFL). One of the properties of the TTFL is that it self-sufficiently generates rhythms; the works of TTFL part1 specifically deal with the self-organising properties of the circadian clock.
In the act of translation, a message is passed from one language into another.
In TTFL part1, the findings and research methodology concerning the self-sufficient properties of the circadian clock are translated into a language of tubes and synthesized sounds. In the very process of translation, TTFL becomes the method used to choose tubes and sounds from a wide archive of samples to specifically convey this body of knowledge.
The works of TTFL part1 place the observer between the inside and the outside of the clock, between a scientific model and a scientific method, between how it works and how one looks at it.
Documentation of TTFL part1 subprojects:
TTFL part1
TTFL part1.1
TTFL part1.2
A site specific open-air 4-channel sound installation sonifying the light of night celestial bodies.
The composition develops around calendar data of sun and moon phases specific to the installation site (52.012855, 8.542723).
A new composition is developed for each day of the festival (11th – 15th of August), depending on sun and moon set times and illumination.