III: Synchronism unfolds via three simultaneous invitations to the public: a one-on-one encounter in the dark mediated by stethoscopes; a multi-channel audio installation derived from live stethoscope audio within each private exchange; and a kinetic sculpture enlivened by the intermingled heart rhythms of visitors past and present.
Created by: Teoma Naccarato and John MacCallum
Performer for 1-1 Encounters: Teoma Naccarato
Performances:
10/2016 Arsenal Gallery | Montreal, Canada
07/2016 SummerWorks Festival | Toronto, Canada
One-on-one Performance:
Individuals are invited, one at a time, to join the performer inside a private booth. With electronic stethoscopes and transducers the duo shares the rhythms of their hearts in real-time, stimulating sites of pulsation on their own and one another’s bodies. Issues of mutual trust, consent, and play are negotiated nonverbally, as the pair transgresses boundaries of internal versus external, and self, other, and environment.
III: Synchronism
III: Synchronism
III: Synchronism
III: Synchronism
III: Synchronism
III: Synchronism (nest)
III: Synchronism (nest)
III: Synchronism (nest)
III: Synchronism
III: Synchronism
III: Synchronism
III: Synchronism
Sculpture:
In addition, there is a large scale, labyrinth-like paper sculpture dominating the public space. Several transducers are attached to the paper, sending real-time, tactile interpretations of the audio from the stethoscopes throughout its surfaces. The public is encouraged to touch, embrace, and be enveloped by the architectural folds of the sculpture, as it evolves in concert with the intimate performance and sonic scape.
III: Synchronism
III: Synchronism
III: Synchronism
Audio Installation:
Bodies are distributed and mixed further as the cardiac, respiratory, and fluid sounds of each person are rendered to enliven a multi-channel, spatialized audio installation throughout the surrounding area for everyone present. Live sounds from the two stethoscopes are treated with algorithmic filters that introduce elements of randomness and ambiguity, as well as slippery passages between signals derived from present and past encounters. A music composition titled Limn was developed based on the stethoscope recordings in the live event: