Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Research Fellow, MIRIAD.
Dr Toby Heys is currently a Digital Technologies Research Fellow at MIRIAD (Manchester Metropolitan University). He received a full AHRC scholarship to undertake his doctorate at Liverpool John Moores University where he investigated the ways in which sonic, infrasonic, and ultrasonic frequencies have been deployed to influence, manipulate, and torture the mass and individuated body. During his doctorate he was invited to undertake a 1-year post in New York University’s music department as a Visiting Scholar. He is a member of the Interuniversity Centre for Media Arts - Hexagram / CIAM in Montreal, Canada and has worked collaboratively on robotic sound installations with the Head of Robotics at the University of Quebec at Montreal, Professor Robert Saucier, for the past 10 years.
His current research is situated at the nexus of multimodal perception, a politics of vibration, and sonic cartographies and includes projects with neurologists, psychologists, artists, musicians, and architects. Upcoming projects include sound installations, films, and writings for the Unsound Festival in Krakow, Poland; The PHI Center and Mutek Festival in Montreal; and the Artcite Gallery and Broken City Labs in Windsor (Canada).

Virutorium.
Virutorium is the second joint project by Toby Heys (represented under the moniker of the Kit Collaboration) and Robert Saucier. Virutorium is an interactive robotic sound installation that explores the extensive and pervasive cultural dynamics of the ‘virus’ and seeks to highlight how far viral systems and models are influencing bodily and computer based communication systems, modes of capitalism, and socio-sexual relations.
Presenting itself as a mobile crematorium for dead computer viruses, Virutorium consists of 12 aluminium urns on wheels. Each urn is open and filled to the brim with computer keys. The keys are presented as the metaphorical ashes from dead computer viruses, as they were part of the physical body of elements that were used to construct the digital life forms in the first place. It is the lids from these digital urns that are mounted on the walls of the gallery.

Drone chamber 1.
Ohrdrone have produced a site-specific sculpture/sound installation in the chapel of the Museum of Architecture and Design. They have constructed a temporary chamber that encourages visitors to come and pay homage to drone culture via the objects and sounds inside it. The physical manifestation revolves around the design and construction of a scaled-down model of an aerial drone. Built from pieces of wood that have been removed from the city’s main river (which runs past the museum and powers the turbine located inside the building’s power station). The detritus from the flowing water has had its measurements transferred into a 3D modelling software. The digital design has been subsequently realised in the form of the wooden drone, which has been installed into the temporary chamber of reverence that is the chapel.
The sound design deployed in the chamber is a drone work composed from ‘earworms’. A psychological malady that derives from latent capitalism’s continued fracturing of aural experience, the earworm manifests most regularly in the form of audio phrases such as a song’s chorus, that repeats itself endlessly in the mind of the carrier, especially in times of stress and anxiety. From the symphony, to the 20-minute progressive rock jam, to the 3-minute pop song, we have, as a culture, reached the point where seconds long jingles/ringtones (earworms, also known as sticky music) represent the most financially viable form of sonic expression for musicians. The following aural process has been designed specifically to transform this replicating ephemeral entity into a mass produced material artefact:
Step 1: Extraction
Earworms have been extracted from five employees of the Museum of Architecture and Design in Ljubljana by having them sing, hum, speak, or whistle them into a field recorder.
Step 2: Containment
Each extracted analogue earworm has been subsequently tagged and transferred to the secure environment of an external digital solid-state drive.
Step 3: Categorisation
Whilst under surveillance the voracity and virility of the sonic specimens was rated and categorised accordingly.
Step 4: Conversion
Having being catalogued the viral nature of the earworm was rendered dormant via its conversion into a drone.
Step 5: Erasure
The five seamless drones were pressed onto a 7” flexi-disk as locked grooves (a locked groove being circular rather than a spiral meaning that it only ends when it physically stopped), one drone per groove. Each drone is played repeatedly until the needle wears through the groove and erases the transmission of the earworm drone. Upon the exhaustion of the 5 grooves, the disk is replaced and the process repeated.
Through a set of transformations from the analogue to the digital and back again, Ohrdrone have designed an environment that fosters adoration for drone culture to the point where passion and love become so fecund that they mutate into something else – namely, revulsion. Within the acts of devotion and worship is an inherent capacity for the emotions that nourish them to become corrupted and to be rerouted into a set of behaviours that results in the disfiguring, deformation, and ultimately, the destruction of the originally venerated object/subject.






Toby Heys
(+ Robert Saucier
& Oliver Blank)

Znanstveni sodelavec, MIRIAD.
Dr. Toby Heys je trenutno znanstveni sodelavec za digitalno tehnologijo na inštitutu MIRIAD (Manchester Metropolitan University). Prejel je polno štipendijo sveta AHRC (Arts and Humanities Research Council) za opravljanje doktorata na univerzi John Moores v Liverpoolu. Tam je raziskoval načine uporabe zvočnih, infrazvočnih in ultrazvočnih frekvenc pri vplivanju, manipuliranju in mučenju tako množic kot posameznikov. V času doktorskega študija so ga povabili, naj prevzame enoletno delovno mesto kot gostujoči raziskovalec na glasbenem oddelku newyorške univerze. Je član Centra za meduniverzitetne medijske umetnosti Heksagram/CIAM s sedežem v Montrealu v Kanadi.
Zadnjih deset let se skupaj s profesorjem Robertom Saucierom, vodjo robotike na Univerzi Quebec v Montrealu, ukvarja z robotskimi zvočnimi instalacijami. Njegova trenutna raziskava se ukvarja s stičiščem multimodalne percepcije, politike vibracij in zvočnih kartografij ter vključuje projekte z nevrologi, psihologi, umetniki, glasbeniki in arhitekti. Prihodnji projekti bodo vključevali zvočne instalacije, filme in prispevke za Unsound festival v Krakovu na Poljskem, center PHI in festival Mutek v Montrealu ter galerijo Artcite in Broken City Labs v Windsorju v Kanadi.

Virutorium.
Virutorium je drugi skupni projekt Tobyja Heysa (zastopanega pod psevdonimom Kit Collaboration) in Roberta Sauciera. Gre za interaktivno robotsko zvočno instalacijo, ki raziskuje obsežno in prodorno kulturno dinamiko »virusa« ter želi poudariti, do katere mere virusni sistemi in modeli vplivajo na telesne in računalniške komunikacijske sisteme, na različne oblike kapitalizma in na družbeno-seksualne odnose.
Virutorium se predstavlja kot mobilni krematorij za mrtve računalniške viruse in je sestavljen iz dvanajstih aluminijastih žar na kolesih. Vsaka žara je odprta in do roba napolnjena z računalniškimi tipkami. Te so predstavljene kot metaforični pepel mrtvih računalniških virusov, saj so bile del fizičnega telesa elementov, ki so bili uporabljeni za izdelavo digitalnih oblik življenja. Pokrovi teh digitalnih žar pa so nameščeni na stenah galerije.

Zbornica brnenja 1.
Ohrdrone predstavlja zvočne instalacije, narejene za kapelo v Muzeju za arhitekturo in oblikovanje. Avtorja sta zgradila začasno komoro, ki spodbuja obiskovalce, da se poklonijo »kulturi brnenja« skozi predmete in zvoke znotraj kapele. Fizična manifestacija se vrti okoli načrtovanja in zgraditve modela brezpilotnega letala. Zgrajen je iz kosov lesa, ki so bili pobrani iz glavne mestne reke (ta teče mimo muzeja in poganja turbino v notranjosti stare elektrarne). Mere teh naplavljenih kosov lesa so bile prenesene v program za 3D-modeliranje in nato digitalno oblikovane v leseno brezpilotno letalo, ki je zdaj nameščeno v kapeli, tem začasnem prostoru čaščenja.
Poleg tega je v kapeli še zvočna instalacija, sestavljena iz brnenja melodij v ušesu (»earworm«), motnje, pri kateri se v mislih posameznika, zlasti v času stresa in tesnobe, v nedogled ponavlja določena zvočna fraza, najpogosteje refren kake pesmi. To so lahko odlomki simfonij, 20-minutnega koncerta progresivnega rocka ali triminutne pop pesmi. Gre za psihično stanje, ki bi ga lahko označili kot nekaj, kar izhaja iz latentnega kapitalizma in njegovega neprestanega lomljenja naše slušne izkušnje. Kot kultura smo prišli tako daleč, da te melodije v glavi, denimo »jingli« in različni zvoki telefonskega zvonjenja, ki trajajo samo nekaj sekund (včasih jih imenujejo tudi »lepljiva glasba«), glasbenikom pomenijo finančno najdonosnejšo obliko zvočnega izraza. Pričujoči slušni postopek je bil zasnovan posebej za preoblikovanje tega ponavljajočega se kratkotrajnega dogodka v množično proizvedene materialne artefakte:
1. korak: pridobivanje
Pet članov osebja Muzeja za arhitekturo in oblikovanje v Ljubljani je povedalo, zabrundalo, zažvižgalo ali zapelo svoje melodije v terenski snemalnik.
2. korak: shranjevanje
Vsak od teh pridobljenih analognih zvokov (»earwormov«) je bil kasneje označen in prenesen v varno okolje zunanjega digitalnega SSD-diska.
3. korak: razvrstitev
Medtem ko je bil pod nadzorom, je bil vsak od teh zvočnih vzorcev ocenjen glede na svojo »požrešnost« in »zrelost« ter uvrščen v ustrezno kategorijo.
4. korak: pretvorba
Po katalogizaciji je bila virusna narava vsakega zvočnega vzorca skrita z njegovo pretvorbo v brnenje.
5. korak: izbris
Pet brezšivnih brnenj je bilo vtisnjenih na upogljivo gramofonsko ploščo (»flexi-disc«) v obliki sklenjenih utorov (ker ima slednji obliko kroga, ne spirale, se konča šele, ko ga nekdo fizično ustavi). Vsako brnenje ima po en utor in se ponavlja v neskončnost, dokler igla utora ne izrabi, s čimer se prenos te brneče melodije konča. Ko se pet utorov tako izbriše, se disk zamenja in postopek se ponovi.
Skozi niz transformacij iz analognega v digitalno in nazaj je Ohrdrone zasnoval okolje, ki spodbuja občudovanje »kulture brnenja« do točke, kjer strast in ljubezen postaneta tako produktivni, da začneta mutirati v nekaj drugega – v nekaj, kar povzroči preobrat. V aktih predanosti in čaščenja je neločljivo vsebovana sposobnost za čustva, ki so negovana do te mere, da postanejo pokvarjena in se preusmerijo v niz dejanj, ki povzročijo deformacije in končno uničenje prvotno čaščenega objekta/subjekta.

t.heys@mmu.ac.uk
kitcollaboration.net