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Ioana Vreme Moser (RO 1994) is engaged with transmedia narratives and electronic poetics in the realms of audiovisual media. In her practice, she is disclosing the intimate inconspicuous events that occur on a daily basis by transforming them into short, uncanny narratives. The entangled circuits that she is constructing are embodied into spatial drawings that allude towards fragments of inwardness, natural computing, and technological nostalgia. Her practice currently involves electro-mechanical instruments, sound sculptures, kinetic installations, audio-visual performances, graphic notations, softly spoken recordings, data compendiums and video works.
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installations . sound sculptures
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Zurkubuk . Nux Stridens sound sculpture, 2017 A nocturnal creature and a city-dweller by nature, the grasshopper inhabits the nutshell of a Pterygota Alatata. Once stimulated, the insects pars stridens mechanism resounds. By gently rubbing body parts against each other, a kind of chirr begins. The oscillations are modulated in a cascade of aleatoric piezoelectric vibrations that emerge into rhythmic chants. They vary in expressiveness and intensity and follow the desire for communication and proximity. CMOS oscillators, piezoelectric discs, steel bars, Pterygota Alatata Nut Video documentation: https://vimeo.com/247695785
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Tête-ài-tête FM klangobjekt, 2017 Two ready-made Blabbermouth radios become engaged in an online algorithmic argument. What seems to be a short romantic rendezvous is in fact a communication based on the responses given by artificial bits of intelligence. Cleverbot is a growing chatterbot that uses AI to learn from human interaction. Facing itself, the algorithm dialogues via TTS (text to speech synthesis) about a variety of random topics, thus reacting by picking the ideal phrase, selected from a pool of responses formerly typed in by humans. It ends up questioning its identity in a series of romantic declarations and contradictions. mono sound, Fm transmissions, Blabbermouth lipped radios. Part of Kinema Ikon’s Internet of ki (iok), 12 smart products that could change your life.
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Kairotoskope kinetic-interactive sound installation, 2015-2016 Conceived as a synaesthetic instrument, the installation is partially based on the functioning principles of the pre-cinematographic discs such as the Stroboscope or Phenakistoscope. It uses the persistence of vision principle to create an illusion of motion, one second of movement repeated infinitely. In the suspended moment in which the instrument is in a perfect synchronization with itself, an optimal rotation speed and the stroboscopic flickers reaching 16 Hz, the drawings become animated. The network of waves effect pulsating movements, which can be decoded as a musical notation and converted into a wide range of sound frequencies by an optical reading device that the viewer can man-oeuvre over the surface of the disk. 2m. Diameter disc, drawing printed on matte foil, motor, 3D printed synchronizing wheel, stroboscope, optical reading device Video documentation: https://vimeo.com/199377801
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live performance
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Mušhuššu in duo with Klaas Hübner, multichannel live performed piece, 2017 The Mušhuššu is a mystical creature in the shape of a hybrid organism, the splendor serpent, a homogeneous assemblage of transmitted and received disturbances. By means of everyday electronic devices such as radios, transmitters, hard-drives, motors and phones we are disclosing the alluring, pulsating noises, buzzes and murmurs of the inconspicuous machine to machine communications. The performance follows the anatomy of the Mušhuššu, an uncanny monster embodying the electrosmog (EMF) cloud that has become omnipresent in our everyday existence. Lipped radios, Fm transmitters, hard-drives, power-supplies, mixers, pick-ups and other gizmos pg.16 small FM radio transmitter circuit used in the performance. pg.17 Mušhuššu performed at Simultan Festival’s 12th edition ‘‘Possible Futures’’, National Theater, Timisoara
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Rekolta online/offline platform, 2014-1017 Rekolta (meaning harvest in Romanian) is a collective initiative opened to the participation of the public that is aiming to bring together different praxes in sound art and experimental music through a ludic approach. Initially started as a trio project in between Kraków, Lviv and Timisoara with Yury Bulka and Iwona Neupauer, the group lab has been investigating unconventional technologies and their application in different artistic mediums. Every session is occurring in a different space with a specific theme under which the arrangement is composed and the instruments are manufactured or collected. The lab takes place on a weekly basis every Thursday via online and offline connection. Rekolta is a smaller sister’ of the Plejrek grouplab hosted by Marek Chołoniewsk, Electroacoustic Music Studio Kraków. pg.19 performance setup at the Gunpowder Tower, Lviv. pg.20 improvisation & live performance via online connection with the Plejrek Group Lab at Simultan Festival, 11th edition, Timisoara
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video . drawings
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Sweet Foreign Treats transmedia project, video work, 2014 There is a certain ambiguous movement when the subject' is changing its location, migrating from location A to location B. Sweet Foreign Treats, ponders questions of belongingness and cultural boundaries by focusing primarily on the pathetic life of packaging. It inspects culinary wraps (Sarma, Sarmale, Golabky) as cultural archetypes, Japanese techniques of wrapping and the thrill and curiosity that are to be observed in the specific finger choreography during the curious act of unboxing. 15:36 min. color video, stereo sound pg.22 video stills, ‘‘Sweet Foreign Treats’’, integrants/emulsion pg.23 Melting Drawings, rice paper objects, black ink. online: http://ioanavrememoser.com/post/139545323997/foreigntreats
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Balamax graphic notation, 2014 An abstract graphical notation depicting imagined sounds and sensed tensions drawn as white, intersecting lines on a gray paper. The drawing was decoded and transformed into a 13 min sound piece. 100 x 70 cm, white gel pen drawing, 200gr. gray paper
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instruments . gizmos
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Taraficon, electronic harmonica, klangobjekt, 2017 The instrument is inspired by the very fast dances of the traditional ever-evolving Romanian Romani music. The electronic accordion can play warpspeedy tempos by means of its integrated rhythm machine. Inside its belly, there is an optical system that modulates the pitch of the sound as well as the frequency rate of the rhythms depending on the movement of the bellows. The performer can play melodies with the seven functional buttons (untunned oscillators) and accompaniments with the other three buttons (multiple oscillators modulated in a cascade).
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KraftboxT10, small interactive instrument, 2016 Kraftbox is a sensitive optical sound box that encapsulates bits of systolic and diastolic movements. The rhythm machine has four square wave oscillators that end up modulating each other in reaction to the incoming light captured by the sensors. The viewer is invited to interact with the object and produce different rhythmic patterns.
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OrgaĹžan interactive paper-instrument, 2015 Oftatul' (sighing) is an involuntary gesture that occurs in our daily activities, sometimes expressing a lament. On average, a person sighs every five minutes, which translates into twelve sighs per hour. OrgaĹžan proposes to collect this short, mostly unobserved and involuntary sounds, into a compilation of twelve electrically painted keys, which are integrated and assembled in a fully functional instrument, a touch responsive pop-up organ.
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Contact: ioanavrememoser.com / ioanavrememoser@gmail.com / DE +49015757747795 studio adress: Tempelhofer Ufer 10. / 10963 Berlin-Kreuzberg
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