Concentric Cycles by Emanuel Elischa

“CONCENTRIC CYCLES” is a personal artistic reflection of a 2 year growing process, in which I investigated artistic perspectives & the aesthetic potential around the context of circular rhythmic, as well as ambient electronic music through a linear sequence based improvisation like Oren Ambarchi, Mark Fell, Barker, Iku Sakan, concepts from Cosmic Kraut Rock, as well as the cyclic perspective & influences of Classical Indian Music. The research addresses the paradox between linear and circular perception and contributes a poetic outcome to the spiritual and philosophical context of Evolutionary Astrology & the Buddhist Heart Sutra as a paradox of dualism. A reoccurring association in my musical language is the circulation, contrasted to a linear based & sequenced polarity in perception. I explore the perceptional borderline between circularity and linearity, which is induced through recurrent and transforming sonic fluctuations in an electro acoustic & modular electronic set up. This catalogue takes the form of a reflective text, with a specific focus on the working methods, contextual placements, considerations & personal psychological analysis, as well as the evolutionary intention of the process that opened up for me during all the cycles I went through.

CYCLE #5 - AN EXAMPLE OF INTUITIVE VISUAL & CONCEPTUAL REORIENTATION THROUGH COLLABORATION

Interactive exhibition & co-creational ritualistic context w/ dramaturg & performance artist Kirsten Kaagaard

What could my artistic practice look like, if I’m collaborating with another artist and explore my musical creation through their specific lens?
The intention with this collaboration was to redefine a contextual placement of my usual & habitual artistic practice, as well as addressed insights from CYCLE#2 where the attempt was to transform an isolated creational space in music production through interacting with the other. Here specifically with a friend and fellow artist.

Another important aspect explored the potential of giving visual definition & meaning to my circulating electronic music. Never before had I worked with a visual format and elements in my artistic expression. We kickstarted this process with a very intuitive & dynamic session that happened in Skamstrup, Mørkøv in an old bread factory. I played a set for us and it transitioned into a photo shooting session, that then laid the aesthetic foundation for an upcoming concert with two dancers and modular synth in the context of the described circulating electronic music. Simplified and broken down, the choreography of the dancers consisted in a very slow moving improvised dance & interaction with circular motives like the moon lamp, analog to the luminary cycle of the moon. It was beautiful to collaborate and reinterpret the already established music, fueling it with inspiration from a different perspective.

The following link will lead you to an interactive exhibition, which describes the culmination of this collaboration as an additional branch of my circular electronic music in the context of contemporary interactive performance art.

Through the creation of this interactive exhibition, I also discovered this format of primitive-game developing as a very nice way to share artistic outcome, PR- & booking material with events, audience and publishers.

The work speaks for itself, and I invite you to explore the artistic process & documentation on your own.

—> After you passed the first door and enter the “GALLERY, Utopian Touchpool”, you’ll find 4 different ladders that will lead you to various conceptualized sonic and visual journeys behind the corresponding door, until, eventually you’ll reach the end, clearly indicated.

With this collaboration we explored aspects of co-creation from performers with the audience as e central point of reflection and conceptualized the performative ritual as a core guidance for the dramaturgical aspect of the performance.

How can we facilitate co-creation in this performative context?

Even though I was familiar already familiar with a spiritual and ritualistic transcendent meaning of my musical practice, with this duo, we targeted specifically the ritual as an artistic format.

The ritual is not to be understood as a stable repetition of traditions, rather an interactive and ambivalent environment, which enables the human sensorium of the body and mind to explore various states of being, acting, interconnection and communication through various artistic context and rules. The intuitive, improvised interaction from the performers with the audience was a first cycle of exploration. Another inspiration explores “Sensuous Learning”, as described in the performative and manifested learning method by Gry Worre Hallberg

This subsequently involves the audience into a co-creational part of the performance.

The choice in music, playing and progressing elements in a flowing circular fashion with a longer stabled time sequence, enables a huge facility for such an interactive ritualistic performance.

In this collaboration, I’ve tried to further emphasize my vision of an „ambient“ context as a very flexible and ambivalent transformation of the atmosphere and morphing sonic landscapes, as well as further conceptualized the interaction between audience and performers through the physical transformation of space with transducers, which I placed on different resonating objects in addition to the speaker set up.

Beside the mentioned discoveries, this investigative CYCLE#5 also ignites the beginning of an artistic research into the context of resonating rooms with transducers integrated in the architectural design of a room performance.

I see the enormous potential of exploring my rhythmic circular music through the lens of interacting with my immediate environment as a physical energy source and vibrating organism (see CYCLE#1&2)

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