The texture and movement of the feathers melt together with the visceral handcrafted digital sound of AtomTM and the poetic imagery of Sophie Vanhomwegen.
The viewer is transported on the friction between
the digital and nature, between observation and imagination, between the tactile and the visceral.
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Birth is a video work based on a blanket covered with bird feathers. It is a work in which visual, sound and performance art melt together. How did the collaboration come about?
Rebecca Lenaerts: From the creationof the feather blanket a performance hasarisen entitled Still a bird.
I asked Sophie Vanhomwegen if she would be interested in filming the performance. She proposed spontaneously to use a 360° camera, in order to experiment with the bird perspective.
The footage was surprisingly beautiful and poetic. So we decided to make a video with it. Then I asked AtomTM if he could imagine sound on the images.
He proposed “texturen VI”.
丽贝卡-莱纳茨。从羽毛毯的创作开始，就出现了名为《还是一只鸟》的表演。我问Sophie Vanhomwegen是否有兴趣拍摄这个表演。她自发地提议使用360°摄像机，以试验鸟的视角。的视角。这段录像出乎意料地美丽和诗意。所以我们决定用它制作一个视频。然后我问AtomTM，他是否可以在图像上想象声音。他提出了 “texturen VI”。
AtomTM: “texturen” was born out of my innate interest in sound as the fundamental component of music. It is as much an investigation in physics as it is in music itself.
“texturen” is a series of recordings which will comprise of 9 albums. The recordings started in 2016 and currently 7 albums exist. “texturen” is an ongoing exploration of sonic surfaces. It deals with the sonic properties themselves, such as frequencies, resolution, volume, etc. Instead of the properties of traditional narratives in terms of “content” like harmonies, melodies, words, and so on.
AtomTM：”texturen “诞生于我对作为音乐基本组成部分的声音的天生兴趣。这既是对物理学的研究，也是对音乐本身的研究。”texturen “是一系列的录音，将包括9张专辑。录音开始于2016年，目前有7张专辑。”texturen “是对声学表面的持续探索。它涉及到声音属性本身，如频率、分辨率、音量等。而不是传统叙事在 “内容 “方面的属性，如和声、旋律、文字等等。
The texture of the sound corresponds with the texture of the feathers. One belongs to the world of birds and nature, the other is digitally created. How does the relationship between nature and digital resonates in your artistic work?
AtomTM: I believe that nature is digital, in the sense that it is based upon algorithmic structures on one hand, and the fact that nature’s fabric is finite, grained. In a way, seems to be a giant TuringMachine, or at least, I have no reason to believe this could be otherwise. A feather is but a fractal phenomenon on the algorithmic surface of said a machine. So in my opinion, there is no difference between “nature” and “digital” as nature may be an iteration of the digital. From my perspective reality has its origin in one or more algorithms, or in logic/logos itself. Every single element of reality can be understood as algorithmic in nature, as part of an ongoing process that is bigger
AtomTM：我相信自然界是数字化的，一方面是基于算法结构，另一方面是自然界的结构是有限的，有颗粒的。在某种程度上，似乎是一个巨大的图灵机，或者至少，我没有理由相信这可能是相反的。一根羽毛不过是上述机器的算法表面上的一个分形现象。所以在我看来，”自然 “和 “数字 “之间没有区别，因为自然可能是数字的一个迭代。从我的角度来看，现实有其起源于一个或多个算法，或逻辑/逻辑本身。现实的每一个元素都可以被理解为本质上的算法，作为一个正在进行的过程的一部分，它比我们大 比我们大。
Rebecca Lenaerts: The practice of Japanese Butoh Dance has become a meager inspiration for my work.
In Butoh the human body is not considered as individual but as a temporary presence within a much bigger unity, connected with all organisms (also non-human and more-then-human) and with the history of this planet and even beyond. It starts from an understanding of the world from
within and as being part of it, not as reflecting on the world from the outside. There is an interdependent mutuality the mesh, which the human constantly moves with and be moved by. I am very much drawn to frictions; that place where two so called opposites come together
and create tension. It is a zero point. A void. Moving in this in-between-space and being moved by it, is my dance. In Japan they use the word MA to name the interval between space, time and space-time. The word not only covers the gaps, pauses and intervals but also the connections and inter-relationships between.
丽贝卡-莱纳茨 日本布托舞的实践已经成为我作品的一个微弱的灵感。在布托舞中 人的身体不被视为个体，而是在一个更大的统一体中的临时存在，与所有生物（也包括非人类和更多的人类）以及这个星球的历史甚至更远的地方相连。它开始于对世界的理解，从内部开始，并作为世界的一部分。它开始于对世界的理解，并将其作为世界的一部分，而不是从外部反映世界。有一个相互依存的网状结构，人类不断地在其中移动，并被其移动。我非常喜欢摩擦；那是两个所谓的对立面走到一起的地方 并产生张力。它是一个零点。一个空洞。在这个中间的空间移动并被它所感动，是我的舞蹈。在日本，他们用MA这个词来命名空间、时间和时空之间的间隔。这个词不仅涵盖了差距、停顿和间隔，而且还涵盖了之间的联系和相互关系。
Sophie Vanhomwegen: I enjoy the playful act of rearranging and assembling visual or audiovisual bits and pieces that I find or come across with in my daily environment.
I like to trick the mind of the viewer by challenging their perception.
To do that, I use digital tools which are at my disposal. Using digital media triggers me to go back and forth in the exploration of the surreal. It opens up many possibilities to question the way our mind works and how we perceive. It is an endless play. For this particular video the challenge was to bring together different artistic universes which generated a new audiovisual piece. It is through dialogue and interaction and during a process of collaboration that the idea and the concept sprouted.
Birth is a video that supposed to be watched in a darkened space and in endless loop. Why did you choose for a loop?
Rebecca Lenaerts: Once we agree on the title of the video, the idea to present it as a loop was almost obvious.
The endless cycle of life and dead.
The exact repetition of the video creates a mechanical process. The same over and over again presents the earth as machine. And yet, with every looped sequence new details in the eye of the viewer come in forefront, new associations pop up in
the mind, new perspectives arise. The mechanical becomes meditative. This video also comes with a postcard with a QR code. The postcard is an outcome on itself.
What is your intention behind?
Sophie Vanhomwegen: We discussed different options on how to share this video work with an audience. We want
it to be accessible without giving it away too easily. If we just trow the video on social media it risks to fade away
between the massive posts and stories of users and advertisers. It would not give the work the honor it deserves. In fact we really faced the problematic of ownership and validation of digital work in the mesh
of the internet. How you present work is as important as the work itself. We don’t really care about the number of clicks and views as long as people watching the video are engaged. The postcard with QR code seems a good compromise. It is a physical object that you can only
purchase through real contact, that leads to a video link in the digital environment. Besides it is a nice object to have.
苏菲-范霍姆韦根。我们讨论了如何与观众分享这个视频作品的不同方案。我们希望 它既能被访问，又不至于太容易被泄露。如果我们只是把视频扔在社交媒体上，它就有可能在用户和广告商的大量帖子和故事之间消逝。在用户和广告商的大量帖子和故事之间。这不会让作品获得应有的荣誉。事实上，我们确实面临着数字作品的所有权和验证的问题，在网状的 的问题。你如何呈现作品和作品本身一样重要。我们其实并不关心点击量和浏览量，只要看视频的人有参与感。带有二维码的明信片似乎是一个很好的折衷办法。它是一个实体物品，你只能 它是一个实物，你只能通过真实的接触来购买，在数字环境中导致一个视频链接。此外，它也是一个不错的物品。
Credits: Concept and performance by Rebecca Lenaerts, Video filming and editing by Sophie Vanhomwegen, Sound by Atom™, experts from ‘Texturen’, Text excerpt from ‘An Algorithmic Odyssey’ by X1N. (2022-2023)
鸣谢。概念和表演：Rebecca Lenaerts，视频拍摄和编辑：Sophie Vanhomwegen，声音：Atom™，专家来自 “Texturen”，文本节选自X1N的 “An Algorithmic Odyssey”。(2022-2023)
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