"Converter Project" Sound and visual based project organized by Nikos Arvanitis, Magnus Arnasson and Franz Graf (and Sigurdur Gudjonson in Converter Project Part II) Participants were invated to convert their basic art ideas. To convert and datatranslate from one location to an other. "Becoming Converter" how much sound can your nerve-system take? feedback frequences that stay in yourears turn dumb the perception of my soundscape abilities subjectivity is most of all a soundscape, an immaterial everchanging sculpture of sound in different states: - heard by myself and others synchronically (real, measurabel sound outside) or - in myself as the only listener (inner monologs, inner noise, inner laughter; most of what we call "feelings" is co-created by states of inner soundscapes) sounds of subjectivity can be denoted as semantic (musical / linguistic codes) or affective (a jubilation, a death-cry, a door opening) the border from sound and communication to noise is a liquid one, but the culturaldifferenciations can be said to change fundamentally every decade or so. thats why the converters change with the time change with the sounscapes change with the subjectivities napster did give mp3 a widespread appeal; after napster was forced to close down,mp3 won´t go away, because it is a human invention that facilitates the communication between individuals: -communication of digitally frozen musical sound-codes (cd´s), -communivation of digitally frozen linguistic sound-codes (emails in phonetic linguistic code: buyu4u) we as artists really don´t know how to built a microphone that it will records sounds, all I know is that it is starting from my hands and then going to my ears; the theremin is short- cutting this: the hand is doing the pitch directly; it is said that the inventor, however, had to leave sowjet union as it somehow did not seem to fit to stalinistic ideology will it ever be possible that you plug a midi in/out in your head and you compose trough your mind?; your mind has to be a fluent process and a reliable map at the same time- the midi-in is the bigger problem, it might set you to slave mode - best thing is to give without taking (but depeche mode says: what you take won´t kill you, but careful what you´re giving, why?) I just love all the different lights on the control panels of my sound machines, mixers and samplers. the blinking remains on inner side of my eye-lids after the first bus (13a) of the day has passed; mild taste of electronic-driven decadence in the beginning of another decade? -what could i do during these urban nights without my computer? -i will tell you if you pay me enough andreas leo findeisen, nikos arvanitis, fotis germanos, 1st. day of converter part 1. Converter Project Part I 3, 4, 5 December 2001, Atelierhaus Semperdepot, Vienna/A. Participated Artists: Selina Traun, Judit Gruber, Marco Antonio Sanhueza Astorga, Zwetelina Damjanova, Ernst Gebethäuther, Franz Graf, Judit Weratschnig, Egill Saebjörnsson, Sigurdur Gudjonsson, Magnus Arnason, MIKI, Andy Kunzman, Nikos Arvanitis, Simone Carneiro, Hans-Joachim Roedelius, Richard Hilbert, Helmut Wolech, Brigitta Casula, Fotis Germanos, Fatima Bornemissza, Sara Glaxia, Judit Huemer, Andreas Leo Findeisen, Anna Ceeh, Alraune Maria, Aaron Kaplan (lo-res), Zenita Komad Converter Project Part II 4, 5, 6, 7 July 2002, The Living Art Museum, Reykjavik/Iceland. Participated Artists: Judit Gruber, Kristjan Gudmundsson, Franz Graf, Birgirörn (Bibbi), Egill Saebjörnsson, Gjorninga Klubburinn, Sigurdur Gudjonsson, Ingirafn, Franz Pomassl, Hilmar Bjarnason, Ulla Tost, Haraldur Jonsoon, Anastasia Douka, Finnbogi Peturson, Sebastian Grizon, Vidarörn, Magnus Arnason, Birgir Andresson, Andreas Kunzman,Tomas Le Marquis, Nikos Arvanitis, Darri Lorenzen, Hans-Joachim Roedelius, Kristinn Mar, Fatima Bornemissza, Bldur Bjornsson, Zenita Komad, Auxpan, Fallaga Gulrotin, Loft Pressukorin, Rafmagnssveitin, Pesi220, Asdissif Close Window All content copyright 2005 nikosarvanitis.com - all rights reserved