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F.0 & Your Name. The Signature Meditation
Vinko Globokar's F.0 is '?Corporel', the title of the piece.
Pauline Oliveros' XXV - Your Name. The Signature Meditation invites us to dwell on our own names, visualize them and, at last, sign them backwards, forwards, upside down or inside out.
In this fragment, the name I dwelt on is '?Corporel'. I then signed it on a transparent sheet of paper placed on an overhead projector. Using a pair of contact microphones, I recorded the sounds produced by the act of writing '?Corporel' (with one hand, with the other, with both hands at the same time and in different directions).
The transparent sheets resulting from F.0 & XXV - Your Name. The Signature Meditation (with the collaboration of the audience who engaged with the set up), as well as my own 'left-hand-practicing-sheets' are shown below.
This fragment was recorded in the Herman-Markus-Pressl-Saal, (KUG) Graz, on 28/03/24.
Alisa Kobzar, Artem Rybchenko - video and light setting.
Lorenzo Orsenigo - audio and post-production.
Pauline Oliveros' XXV - Your Name. The Signature Meditation invites us to dwell on our own names, visualize them and, at last, sign them backwards, forwards, upside down or inside out.
In this fragment, the name I dwelt on is '?Corporel'. I then signed it on a transparent sheet of paper placed on an overhead projector. Using a pair of contact microphones, I recorded the sounds produced by the act of writing '?Corporel' (with one hand, with the other, with both hands at the same time and in different directions).
The transparent sheets resulting from F.0 & XXV - Your Name. The Signature Meditation (with the collaboration of the audience who engaged with the set up), as well as my own 'left-hand-practicing-sheets' are shown below.
This fragment was recorded in the Herman-Markus-Pressl-Saal, (KUG) Graz, on 28/03/24.
Alisa Kobzar, Artem Rybchenko - video and light setting.
Lorenzo Orsenigo - audio and post-production.
This documentation presents the Globokar-Oliveros pairing (1), selected exercise sheets used to train my left-hand writing (2,3), and artistic outcomes from performances of the fragment on various occasions (4–7). Some of the transparent sheets were also written on by audience members, who engaged playfully with the setup.
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