20 pages booklet

performed by belaska
Mark Wastell: amplified textures
Mattin: computer feedback
recorded by " " [sic] Goldie at the Vault
The Foundry London EC 2
16th December 2002
texts by Mattin & Zeigam Azizov, Matthew Hyland


A starting point for production: avoid monitoring


Focus on the space’s margins (which no longer serve their original purpose), their resonance.

Spectrality as lubrication, articulation of mediums, producing new meanings and exploring potential new sets of relations.

A space of discovery (without being discovered) :meaning fluctuates with new encounters.



Secrecy as a mode of production: Vault

Secrecy is linked to a certain intimacy, which highlights the uniqueness of the moment. This moment uncovers the potentiality of what is usually not seen through small gestures or decision making. Because of its uncertainty this moment of secrecy is taken here as a mode of production. Uncertainty exposes the fragility of established modes of production. This particular moment makes prominent the idea of what is socially peripheral may be symbolically central. I would like to show how this process became possible using the example of my encounter with the safety-box.

When I saw the dis-used safety-box in the former bank building it took me straight to an understanding of its fragility. This fragility was articulated primarily in its acoustic resonance, which one immediately notices within the space.
By coping with improvised textural sounds we find a moment of confrontation with this fragility.

Improvisation is a tool for the discovery of new ways of communicating at the cracks of the unexposed.
Amplified textures differently configure time and space, altering their constitution by the virtue of the vault’s resonance.This resonance is like an intermezzo which produces a certain meaning which can only be discovered in this gesture. Because of the secrecy the whole environment receives a new meaning in this intermezzo, which emerges from surroundings. The surroundings get exposed through the gestures of improvised sounds that we deliver in intimacy. Intimacy makes it possible for us to grasp the meaning. The surroundings, margins also bring to the centre a very crucial moment, which is absent in the central object itself, the safety-box. We use sound as a different mode of translation for this interaction between the central and the peripheral.This interaction happened by means of not ignoring the environment that surrounds the safety-box. What surrounds the safety-box, i.e. the rusty surface and the acoustic particularity of it, which might be called " left-over" or excess. These "left-overs" are re-sited within the resonance which is described above and below (see Time Lock). The rustiness reveals the object’s previous use by swerving away from the straight-looking. This obsessed manner of looking disrupts previous meaning and creates an interactivity based on interruptions within the space, the object and the subject.
However this process of interruption of meaning and secrecy leads itself to non-secrecy

Text by Mattin & Zeigam Azizov





A bank re/de/generated as ‘performance space’: sound-shocks trapped in its lowest vault burst boundaries of hearing, saturate witnesses’ pinioned flesh. The vault-locked sound-event arrives at an inaccesibility no bullion-heap could ever have aspired to. Vibrations flung against four metal walls go nowhere except (in vengeful fury) back to the porous bodies triggering them. Slow dissolution. Matter broken down to memory. But resistance to the siege engines of authentic insight (documentation/biopsy) is more than a matter of armoured privacy. An event’s singularity, its material strangeness, may be shielded most securely in solemn parody of its full disclosure. The physical force of the noise in the vault was wholly absorbed by the bodies enclosed with it; afterwards the idle curiosity of surveillance is absorbed by the sound’s incorporeal double, its drained, corrupted ‘reproduction’ as digital code.

Renounce ‘realistic’ sound completely. Withstand the temptation to get carried away, to believe you might almost have been there. Listen to the CD on the ‘worst’, cheapest equipment you can find, any machine that habitually eliminates bass frequencies. Notice that for once the seismic plane doesn’t disappear, it lingers as an enervated facsimile of itself. An echo clung to,
not an image captured.

Text by Matthew Hyland