at times, try to inquire into times (variations)

“

What you can see, what you can hear and... However, stimuli that can be felt equally and simultaneously, can't they make each other inviolable while being distributed in terms of signals?

There is not a rebellious attitude against what separates (to some extent) art and music. Nor is the idea that we want to unify everything.

Nevertheless, they definitely continue to renew their presence “here.”

Ambiguous boundaries, discontinuity, are severe yet universal, also similar to human relationships. Being able to measure and think about relationships that cannot be completed motivates me and my works here.

”

This work combines parts of a pendulum clock, a resonance box, and a loudspeaker, and is monitored in real time with a microphone/recorder or camera. The original isochronous function of the ticking sound of a pendulum clock does not function, and the pendulum is shaking left and right while laminating slightly. Continuous sounds and images are recorded and converted into waveform graphs by a computer.

Based on the mimesis of Luigi Russolo's “Intonal Mori,” this work is composed of a device that measures and re-visualizes (quantizes) visual objects, auditory sounds, and a series of these flows.

Although lameness in rhythm can be recognized audibly as “deviation,” waveforms accumulated over time compress a series of slight “deviations” and are stacked as flat noise. Also, the horn and microphone “appear” to blatantly express the relationship between [pronunciation/sound collection], but since the sound easily receives interference from the outside and is reflected in the waveform graph, for example, the sound of the audience = walking through my gallery is naturally incorporated into a part of the work, and furthermore, it is also incorporated into the “accumulation of lameness time.” “Works” go beyond the framework and influence other works, and sometimes they listen to other works and the audience's sounds. This work directly becomes one of the audience members, and it is a work that requestions the relationship between master and servant (viewing/being able to watch) and the essence of art by blurring the relationships between time and space, performer and stage and audience.

Even if this “deviation” is questioned in an attempt to fix it, sometimes even that movement/sound/relationship ironically becomes part of the “deviation” and becomes established, so the title “Sometimes, I try to be bad.”