SKOLTZ KOLGEN, AUDIOVISUAL DUO
Txt: Bertram Niessen
The visual composition of your works is definitely complex. Beyond your multiple influences (glitches, photography, architecture and biology), we can always see a recognizable mark. How do you describe your aesthetical choices?
Skoltz_kolgen: One of the thing that inspired us the most is micro-phenomenon, micro-evolution or micro-transformation of system. Their inner organization, their rules, their contaminations, their slow permutations, their destructions or morphogenesis. This system can be organic or purely synthetic for us. In Fluux:/Terminal, for example, we created wireframe structures that moves their selves. The sound can influence their normal evolution while time goes by. Audio in this case is the stimulating/disturber agent. In Epiderm we created a virtual ambient that has biological references real and audio in this case is the creator of cells. In Ovskii everything is virtual, pure matrix on a PC black and white. Pixels moves thanks to audio dynamic and build patterns and synaptic forms.
In our music we creats instruments able to work to micro-extreme levels in sound. With this type of interface we can work with microstructures of wave forms to create permutations and reorganize their structures. We also develop scripts and randomizer able to inject information, randomization, or precise decision into the sound. In fact it is possible to control every single aspect of the sound and make some rules at the same time that make the interface create the sound.
Bertram Niessen: Lot of the artists who work with audio-visual performances give importance to the liveness component. Some others focus more on the construction of environments, considering the liveness as a secondary aspect. What do you think about that? How much liveness is there in your work?
Skoltz_kolgen: It depends from the nature of the project and its goals. Some have the performance as a sharing of a particular environment and emotional state with precision and specific direction. Some other as Askaa have randomness as the creative engine of the performance/installation, even if we always need to put some rules and aesthetical parameters first. We love every project because of its own structure. In Ovskii is difficult to control the matrix in a perfect way, so live everything could happen and this is part of the project.
Another important element is that in some way, we’re slave of the slowness of our computers so we have to compare with this limit, mostly live. Live in Epiderm it is difficult to have the total control on all the genetic cells. But everything changes nowadays, so in our future maybe we’ll be able to do everything live.
how much is important the programming of the instruments you use? Can you describe some of them?
Skoltz_kolgen: Most of our projects need to work on developing technologies . We don’t care about limits that available software have. If a project need something particular that doesn’t exist, we create it. From this point of view, we have some friends who help us out where our knowledge is not as good as we need. But we develop our interface on our own most of the time.
The narrow relationship between audio and video is a striking element in your performances. Do you think as audiovisual synesthesia as a dialog between audio and video, as a fight, or as a description?
Skoltz_kolgen: All our works (performances, installations, movies) contain the idea of relationship between sound and images. When we look at an animation, we always try to hear a possible correlate sound, and vice versa. We feel like creating a natural dialog when we connect sound to images. The intersection of elements let us always propose new ideas and emotions. Only through this mix of medium our expression is polarized and directed. In “Flüux:/Terminal” there are some strong connections between sound and images, and that’s the reason why it’s an intense movie both from the physic and psychological point of view. But on the other side in Silent Room this relationship is interpreted in a more metaphorical way: we abandoned the narration starting from characters to let the music do the talking.
Can you say something about your way of working to conclude this interview? How does the project is devised and realized?
Skoltz_kolgen: First we have a brainstorming session about the main concept, until the focus becomes clear and excite both. At this point, we discuss about how this specific work differ from its predecessor, what’s the connection, what we need to head on with the concept. It seems a coercive process, but it’s something natural, that happens while we’re having breakfast, or during a stroll in the park, when we drink good wine (or a spritz). Our life is a cocktail and the border between life and creativity is weak and fine. This rhythm and this dynamics run our projects, in a sort of continuum.