Arek

About Arek

Idea;

The constantly changing language of sound and images, experimenting with the possibilities of their timbre and shape arrhythmias, allows us a never ending journey, adventure and a confrontation. By trying to erase the boundaries between the consumer and the phenomenon of creation, a cooperation of some sort, reconciliation with the sounds of emotions and ,,theatricalism,, you just can not be stuck in the same place for long. The created objects should get us closer to the untouchable, unlimited freedom of creation, without defining the limits of the subject. Intuitive choice of materials allows us to experience the creation process from the beginning. Discovering a variety of possibilities for different expressions, temperance or borders gives us a chance to expand our horizons and consciously break the schemes and certainty of meanings.

Composition;

It changes depending on different actions (from one to the others), every completion needs an individual approach, finding a balance and the understanding of each other. The variety of personalities guarantees some sort of conflict, giving us unpredictable effects.

Experimental realizations, improvisational practice;
HOME RECORDING PROCESS

Meetings during a sound performance, experiment and improvisation materialise in a multimedia composition (music, video, paintings, sound installation).

During those intentional actions audios are being created, which are being used as a foundation for the fragments contributing to a sound installation musical composition.

In the further process it’s getting subjected to a computer analysis (harmonising the entirety in a direct digital leveling distortions). The whole process is similar to a studio session where the recordings are usually the final product being a representative example and a documentation of the progress(„Usta/I,II” „Jaśmin”, ”Kolm paso por metaphyssical”, ”Fantom”, ”Varios respekt terytory” ”Apregiator”).

Every step is a separate, unique and an unpredictable event, not a structured form of an artistic trail. The purity of this act, the fact that we can play and analyze it is possible thanks to digital recordings. The repeating of those experiments and improvisations actually isn’t the mail focus of Sin Seńal, rather it’s a conscious departure from many stereotypes, rules and conventions. Specifically in the process of ,,continuity's morphology’’ it seeps through the middle of words elusiveness, a new method and a way of Home Recording Process is being created.


Experimental realizations, improvisational practices;
OPEN REHEARSAL/ an influencing experiment/ music/ visual art

Title: Campo
Time of realization: 45 minutes


>OPEN REHEARSAL< it cannot be fully predicted (just like every experimental operation), the definition of it can be said very vaguely;

An open rehearsal is going to happen in an open space in public, in this situation the improvised experiment refers to an acoustic environment of the found space and displaying a video ( it will partly be referring to the plot and expression, the scene will be the same every performance of the Open Rehearsal).

The main theme will be based on ,,variations,, mutual interactions and the dialogue with the found acoustic, of the artistic continuum >sound>video>space>receiver.

The musical structure consists of the sound emitted from the video with the combination instrumental improvisation (and the surrounding sounds). Those structures will generate the background, a specific sound scenography, which will be entirely registered. The whole composition should always give an aesthetic end result…

Experimental realizations, improvisational practices;


HAT /Humanities/Art/Technology/

Research project on behalf of the department The Faculty of Theater Studies at AMU
Interdisciplinary Research Center AMU Humanities/Art/Technology
University of Adam Mickiewicz in Poznań

UntitleEvent(1952-2011)
The project is referring to the iconic for art history and theatrical arts performance of John’a Cage’a, Merce’a Cunningham’a, Roberta Rauschenberga, Davida Tudora in1952 at the Black Mountain College. This fully improvised piece was some sort of a gesture of a creative reenacting, being a tribute for the artist that have started the simultaneous and interactive form of narration, and also to allow a new definition between sound, space, movement, picture and an object.


Experimental realizations, improvisational practices;

A MULTIMEDIA ENVIRONMENT;
Title; The creation of the world
Realization time: 50 minutes


The context of theatrical dancing combines with the environment, flows through the means of expression (being registered in real time and being emitted on the video, music that was inspired by the passing time, improvised dancing, spacial installation) gets everything closer to a happy ending. This action can be done in a place where there can be space for the art of a spatial implementation environment (for ex; a room). Oneiric installation environment wants to say…

(a poetic jist)