WATERMILL CENTER, Long Island NY, USA – Jorinde Voigt: „Lemniscate“ / „STAAT“

03.10.2008 – 05.10.2008 – “Lemniscate” / “STAAT”
STAAT by Jorinde Voigt | Installation of scores / drawings
LEMNISCATE by Patric Catani and Chris Imler (composition)
in cooperation with Jorinde Voigt (concept)
acoustic cluster, multi-channel audio installation
Watermill Center
39 Water Mill Towd Road
Watermill, NY 11976, USA
Jorinde Voigt works on scores and notations that relate to contexts of our civilisation and their environment. They incorporate elements of equal value, some of which are exclusively imaginary, while others can be translated into reality by means of a real action or as a programming structure Temporally and formally, the score and its situational translation into reality correspond to logic and proportions of their own. This is based on the most important fundamental structures of her work: discovering a structure or means of notation that behaves in the most energetic way possible, since she is observing something that is alive. These are rhythmic permeations or the overlap of autonomous rhythms (pulse, beat, proportio­nally decreasing or increasing duration, volume, distance, speed, etc.) and the complexity of interference resulting from them, as well as a reflection and de­clination (minimising and maximising) of culturally typical norms and structures of convention.
Scores by Jorinde Voigt
The score develops on the basis of geographical and spatiotemporal data, information on speed, volume, overlaying of mathematical sequences, and culturally typical patterns of behaviour (“2 kiss each other”, “Detonation” or “Crash”), stable or unstable temperature curves, as well as thematising heterogeneous space, electricity, definitions of airspace (on the basis of algorithmic eagle flight-paths, helicopters, Airbus, etc.) or the measuring of the earth’s surface by satellites, cars, lines of fire, arrangements and overlapping of pop song beats producing a meta-sound from the “Pop Machine”, etc.
The score always describes a space that does not need to be perceived as linear in time, as happens with a performance or a translation into real time. At the same time, it enables a view of the overall structure of a situation, visualises the character of specific processes, and does not interfere with the viewer’s decision when to perceive something. This method of notation is important so that I keep the aspects of time and space within my sights. Extractions / translations of the score into a real situation are only examples; one of an infinite number of possible translations. In part, the function of the scores is their translation purely into the imagination, but some are the pattern for real acoustic translations or for the constellation of a situation in space.
Lemniscate / ∞
(acoustic cluster, multi-channel audio installation) by Jorinde Voigt (concept) in cooperation with Patric Catani and Chris Imler (composition)
The acoustic cluster in the form of a loop – an 8 lying flat in space – is realised using a multi-channel arrangement of 5 to 10 loudspeakers. In the form of an 8 / ∞, the composition chases an acoustic cluster through space. Patric Catani works out a composition of acoustic impulses and interferences in cooperation with Jorinde Voigt. In part, these will originate from real situations, but some will be produced electronically. Here, the 8 defines an axis of 7 points and functions as a basic “geographic” axis (comparable to the otherwise valid axis: north, east, south, west) for the acoustic motion. The cluster is created in the region between the earth’s surface and a point above head height, which can also be raised infinitely. The field for declining the different wavelengths should somewhat exceed the humanly perceptible short- and long-wave spectrum.

Photo: Jörg Reichardt