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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
AHORA. A song in the Hypertemporal Surface
Mene Savasta Alsina,
Hernán Kerlleñevich
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_AHORA_ is an interactive song, composed and installed in the _Hypertemporal Surface_. As temporal solids, its sounds exist potentially unfolded on the floor, waiting for someone to make them sound in response to the path they take.
The _Hypertemporal Surface_ is a software environment developed for musical composition in space. It makes it possible to “install sounds” in space. In other words, it lets us map time into space. As every moment of the original duration of sounds is anchored to a specific spatial coordinate, moving through space is literally moving through time. Anyone who walks inside this room evokes the potential times of the composition in a particular way; the song is rewritten with every new path.
_AHORA_, as the compositional environment that hosts it, proposes a reflection about the relationship between time and space, about the idea of all times coexisting simultaneously in the same plane, and that it is the observer who updates them, bringing order and meaning.
This work is based on a spatial composition principle. The distribution in space of four sound layers, each one belonging to a speaker, sets up the interaction possibilities for this musical piece. The position of the observer in the room controls a personal time cursor for all the sounds. If the viewer approaches the speaker, the volume rises and the instants that are heard depend on the angular position. If they stand still, time stops. Only by walking through the installation it is possible to know the immanent temporality of each sound. Only someone who walks through the Surface is capable of revealing, with their ears, the spatial morphology of these sounds created by _Operadora_, our musical project.
Links: www.cargocollective.com/operadora/ahora
The _Hypertemporal Surface_ is a software environment developed for musical composition in space. It makes it possible to “install sounds” in space. In other words, it lets us map time into space. As every moment of the original duration of sounds is anchored to a specific spatial coordinate, moving through space is literally moving through time. Anyone who walks inside this room evokes the potential times of the composition in a particular way; the song is rewritten with every new path.
_AHORA_, as the compositional environment that hosts it, proposes a reflection about the relationship between time and space, about the idea of all times coexisting simultaneously in the same plane, and that it is the observer who updates them, bringing order and meaning.
This work is based on a spatial composition principle. The distribution in space of four sound layers, each one belonging to a speaker, sets up the interaction possibilities for this musical piece. The position of the observer in the room controls a personal time cursor for all the sounds. If the viewer approaches the speaker, the volume rises and the instants that are heard depend on the angular position. If they stand still, time stops. Only by walking through the installation it is possible to know the immanent temporality of each sound. Only someone who walks through the Surface is capable of revealing, with their ears, the spatial morphology of these sounds created by _Operadora_, our musical project.
Links: www.cargocollective.com/operadora/ahora
Concept, design and realization: Mene Savasta Alsina + Hernán Kerlleñevich
Sound materials: OPERADORA (Mene Savasta Alsina, Hernán Kerlleñevich and Santiago Martínez)
Realization of sensing system: Pablo E. Riera
Sound materials: OPERADORA (Mene Savasta Alsina, Hernán Kerlleñevich and Santiago Martínez)
Realization of sensing system: Pablo E. Riera
Hernán Kerlleñevich (AR) is a sound artist, electro-acoustic composer and musician. His production includes electro-acoustic works, installations and multi-channel sound interventions, audio postproduction and music for media. He designs interfaces and programs environments for real-time music creation. He is a professor of computer music and sound design and teaches at UNQ, FUC and UNTREF.
Mene Savasta Alsina (AR) is a sound artist, musician and art historian whose research and production is in the field of sound art, performing and doing installations. As a composer and performer she participates of musical projects such as _Operadora_, _El Tronador_ and _Música Destructiva_. She is a founding member of the art collective Marder. She teaches history of visual arts at several universities.
Mene Savasta Alsina (AR) is a sound artist, musician and art historian whose research and production is in the field of sound art, performing and doing installations. As a composer and performer she participates of musical projects such as _Operadora_, _El Tronador_ and _Música Destructiva_. She is a founding member of the art collective Marder. She teaches history of visual arts at several universities.