tvvv.plotas_07: artist/sound
TV project / discussion / videoconference
broadcasted by LTV / May 19, 1999 / 10.30. p.m. CET
SCHEME FOR SOUND:
It is not a secret that Vilnius is situated on the crossroads of east and west. That’s a place where two worlds of extreme meet. Extreme in their naivety and smartness, chaos and discipline. First we meet Andrew McKenzie at his performance he is delivering to public and his fans in 1998. That’s first public thing he does after being back to the world of sound since ten years of computer conspiracy.
Andrew McKenzie and Nadia are meeting occasionally in Vilnius, although this meeting has important consequences for both and even more. Nadia became an object for love and affection making Andrew to come to Vilnius even a few times during a year. Actually Nadia comes from Donbass that is heart of Ukraine. Vilnius becomes an ideal place for those two to meet.
>Andrew Mckenzie /h3o/sonic artist/Copenhagen/Reykjavik: The way that I see it, is that because of the Internet and because of the way that computers are now being designed and being programmed for, that data is actually much more loose term for all kinds of information now that it was. There is no hard boundary now between text, between sound, between image, between all of these categories that there was before. It’s now possible using computers to process a text in a sound environment and then feet that back in a visual environment and then feet that back in a some other unknown environment. Because it’s all in a computer domain.
Here you could basically take a characteristics of this sound and do some fairly crazy things with it. Because when the sound is moved into the digital domain everything becomes plastic. It becomes possible to manipulate things that it would be impossible to manipulate in the real world. I and few other people that I’ve come across, really understand how they work. Now we are able to, you can say, to subvert it in some way, much I did with tape recorders…
… As I said I don’t like the technology and I don’t like the way that technology is used to basically rape people by taking their images, by taking all the stuff from them and then using it in a different context. The computer is even worse then this. It s much more distractive thing. By giving something back to people, by making them less passive, that’s what I always wanted to do with the records that I made. And now it seems like I’m in a position to maybe be able to make it with computers too. Is to be able to remove some of this technology worship of the computer and actually bring a human paradoxically back in trough the machine. Yeah, just like people. You can relay on them most of the time but not all of the time…
… The kind of process I’m interested in when something comes out of it something inside. Not a product that one can shrink and put on a shelve and sell on a supermarket. But something that is shared experiences, which can be brief on and that would fork of a new processes going on and on and on. It’s not like that we can take last week and a half and take plots and videos and take some stills and put it in a nice book and sell it as nice catalogue. And say it that’s that. That was August 2000. That’s not interesting. But what I see what I’m doing, is getting towards this situation, I ‘m more dealing with what I’m interested in. I was only doing what I do in order to have people love me. That’s all I was doing. I don’t want people not to like me. I want people to like me. So, I want to make something that people think: yeah that’s great. I’d like to talk to that person because, not on that stupid level, oh no… not on that stupid level. That’s all I really want to do. I don’t want to cause any harm to anybody.
