“Micro Loop Macro Cycle” is a series of installation, performance, video, and sound production that investigates environmental cycle system through studies of different states of water. Sound is the primary material of this project, as well as the communicational medium revealing comprehensive sonic informations about the dynamic states of present time and space.
The focal point of this project is to present how a tiny event – a drop of water, or a sound of cracking and melting ice – in a given cycle system, creates feedback loops that eventually can be seen as the whole. And also how every aspect inside the system is inter-connected, and capable of revealing the bigger picture on its own.
This release is based on the recorded materials from various locations and events related to the project, with the aim to find a contrast and balance between two realms. On one hand the nature, to obey to and reveal the organic sonic informations created by natural phenomena; on the other one is the presence of consciousness, the search for humanistic aesthetics in the form of one off computer-based improvisation.
By applying similar approaches to the project – audio analysis, and generative data-sound manipulation, a framework of virtual time-space feedback loop was created. As sounds initiate the system, it manifests itself through shifting between deformation of existing soundscape and formation of fragmented reality, where our awareness plays the role of cycling between two states. One is the separation we consciously create with the nature, when we position ourself as observer or creator to establish relationships based on needs. And the other one is the connection with the nature on the unconscious level, when mind and body are not separated, to place ourself in the wholeness, to become one within.
Aloïs Yang, born in 1986 Dax, France, raised in Taiwan, now based in Prague, is a media artist, interaction designer and experimental musician who produces work that explores the relation and interaction between people, sound, and the external world. His work is influenced both by scientific reference and human imperfection of understanding the nature.
He overcomes the separation of art forms and genres with an integrated creative approach. He uses a wide range of media, from interactive installation to speculative design prototype and live audiovisual performance.
Interaction in Yang’s work takes place not just in objective reality, but also inside of intimate experience and imaginative projection. These includes traveling among such varied subjects as brain function, facial expression, micro/macro realities, virtual time-space, starlight, apocalypse, and the beginning of the Universe.
My work investigates the perception of time and space on both “outer” physical world and “inner” metaphysical levels of awareness – as a manifestation of how we contextualise the overlapping realities in between body and mind, objective explanation and subjective projection, analogue and digital, certainty and unknown.
I aim to engage viewer’s sensation and comprehension to the given moment of reality, portrayed by experiential phenomena and existential ideas – as an invitation to an incomplete journey waiting to be explored by active, participatory, intimate interactions that incorporate individual’s consciousness as the piece itself.
I am interested in the crossing line between the general explanation/application provided by science and technology, and how we actually grasp and make use of it on personal perspective. By combining conclusive theory and hard scientific data with integrated technological approaches, I aim to reveal the information in tangible and playable art forms, which create open spaces for imagination, speculation, and self-reflection.
I use sound as the primary material of my work, also as the communicational medium that is inter-connected with data of context, visual, lighting, and human interaction. Through various sensor and real time computations, viewer’s involvement is always at the centre of the piece, where unique and unrepeatable contents are generated – as an organic sonic environment that evolves through time.