Ewa Justka electronic artist
Biography Ewa Justka is a polish electronic artist based in London. She currently studies BA Sound Arts & Design at LCC and doing an internship in physical computing at STEIM, Amsterdam. Justkaâ€™s main field of research is based on exploration of materiality of objects, vibrant, ontological systems (human bodies, the bodies of plants, electronic circuits: varied range of micro and macro environments and relation between them) and an investigation of modes of quasi-direct perception through noise performance actions, interactive installation, hardware hacking, circuit bending, accordion stretching, plants-molesting, breaking, deconstructing and collaborating. In her artistic work Ewa attempts to explore the concept of physicality of objects through creation of an instant interactions between them. She has collaborated with artists such as: Steph Horak, Kaffe Matthews, Lorah Pierre, John Bowers and more. Ewa has performed at: noise=noise, London; London College of Communication (University of Arts); Beam Festival, Brunel University, London; Network Music Festival, Birmingham; Moving Forest Festival, Chelsea University, London; Exploding Cinema, Goldsmiths College, London; Unknown Devices, Barbican, London; Supernormal Festival, Oxfordshire; Radio Black Forest Festival, Birmingham and more.
The Ultimate Sonic Flesh live act
The Ultimate Sonic Flesh live act is a direct link between audience and performer through synchronization of flashing, radiant lights and raw, industrial sound. It is an audiovisual experience â€“ the listener is surrounded by shifting lights creating harsh, disorganized sound. Ewa uses electrical network: hardware, electronic circuits: DIY photoresistor-gated oscillators and solar panel (the loudness of noise depends largely on the specific photoresistor and capacitor; when the flashlight hits the photoresistor â€“ the sound is triggered), and an electromagnetic pick-up; pulsing, desynchronized lights, lasers, fire â€“ everything which is a source of glare and builds cacophonic, bizarre rhythms, earsplitting volume, a broad spectrum of peculiar timbres and a structure that builds intensity through sheer repetition. The multisensory experience aims the listener to enter the presence, it is a different kind of meditation: through awaking of senses.
This sound installation explores a wide range of possibilities of the direct interactions between two organic materials â€“ humans and plants. Sound is being triggered through variety of actions: touching, squeezing, stroking and consuming. The plant, as well as an interacting person, conducts electricity, which allows us to create an unpredictable dialog between the two. The purpose of this experiment is to become a part of the flow of electricity; to re-invent the way we perceive materials and their inter-relationships. Human = organic = conductor; plants/fruits/vegetables=organic=conductor. Resistance of skin = electricity flow. Human body + plant = circuit.
The Sonic Glove The Sonic Glove (prototype) is a sound controlling device based on two flex sensors, two pressure sensors, light sensor, Arduino and Pure Data. The Sonic Glove is an interface which allows the performer to control an extremely low frequencies, raw samples and noises through the movements of fingers. Video documentation: http://vimeo.com/68220309
“Participation” The importance of a public’s presence in a performance is as equally essential as the performer’s presence in Ewa Justka and Lorah Pierre’s sound installation, ‘Participation’. The aim of this project is to break the boundaries of spectatorship and performance within a photo-sensitive installation that is activated through flash photography. All participants were encouraged to bring their own FLASH cameras (digital or analog) in order to take part in the work. Audio recording can be found here: https://soundcloud.com/ewajustka/ewa-justka-lorah-pierreparticipation
EXPERIMENTAL SOUNDING BOARD III Performance with Lorah Pierre founder and curator of The Experimental Sounding Board - a live platform for performance and markmaking collaborations between sonic and visual modes of improvisation through the exploration of technology and gesture.
The Experimental Sounding Board III Performance with Lorah Pierre: homebuilt hardware, live graphite conductive drawing, optics. Performance under the table using homebuilt hardware, live graphite conductive drawing, optics. The participants were invited to draw, altering the resistance to our circuits.