The Fluid Computer expo is set around tree installations by Floris Vanhoof in the vicinity of Zwarte Zaal at KASK. The opening evening features his solo performance, followed by Alvin Lucier's pioneering Vespers. The vernissage is the festive presentation of Vanhoof's new release 'The Fluid Computer' (LP and photobook). The expo runs from 20 May to 3 June. In collaboration with KASK.
Floris Vanhoof combines homemade musical circuits with abandoned projection technologies for audiovisual installations, expanded cinema performances and music releases. Experimenting with cross-medium translation and compatibility, he questions our viewing patterns and the possibility of the new perspectives to emerge. Vanhoof builds his own instruments to discover the border between image, light and sound. Regardless of nostalgia, he purposively chooses analog technology, reinventing 'high-tech' and looking for the ways to make old images with new media.
'The Fluid Computer' LP is out on KRAAK on 3 May 2019. The book contains multiple exposures made on 35mm slides projected during concerts, while the record comes with two new pieces made with DIY musical apparatus, field recordings and tape manipulation. Together they trigger and inspire to deconstruct the ubiquitous algorithmic and electronic machinery, and to reincarnate technologies left to oblivion.
The title of the release comes from the book ‘The Pattern on the Stone’ by W. Daniel Hillis.
Alvin Lucier is a pioneering American composer, writer and visual artist. He might be best known for his avant-garde exploration of sonic environments and the use of performer's physical gestures and neural impulses. The significant part of his longstanding oeuvre ventures towards sounds that we would never perceive under ordinary circumstances.
In Vespers (1969) performers with Sondols (sonar-dolphin), hand-held pulse wave oscillators, explore the acoustic characteristics of given indoor or outdoor spaces. This is made possible by monitoring the echoes of the pulse waves off the walls, floors and ceilings, as well as any objects or obstacles in range of the sound waves. Over time, a listener gets a sound experience of the space.