production and your compositions... while crossing the borders of different artistic fields have you ever happened to realize that a symbiosis between different disciplines is the only way to achieve some results, to express some concepts?
I think sound can really make or break a video or a film. It is absolutely crucial to have a soundtrack that can elevate the moving image. Sometimes, as is the case in Twin Nuns, sound was the initial inspiration and plays a leading role in the piece. It adds a whole new layer of ambiance to the image and absorbs the viewer into becoming a listener first. Thanks to my background in music, I can be in control of composing a score for an image, and it is necessary for all filmmakers to become more directly involved in harnessing their sound design. When you visualize a film in your head, you can't convince me that you don't hear things too! Before taking leave from this interesting conversation I would like to pose a a question about the nature of the relation with your audience: during these years your works have been exhibited in several important locations as the Townhouse Gallery in Cairo, the Alexandria Contemporary Art Forum and a couple of years ago you took part to the 8th Gyumri Biennale. What impressions have you received in these occasions? And in particular, do you consider the issue of audience reception as being a crucial component of your decision-making process in terms of what type of language for a particular context?
Language is important in the communication process and translation may limit you especially when you are being poetic or expressive as is the case in art. I speak 4 languages and sometimes I become confused which to express with or even to think in. Every
language is unique and translations may mislead. For example I have made an interactive installation in Art el Lewa in Egypt and the same one in La Capella Barcelona. The English working title is "Peephole" and when translated to Arabic the peephole on your door is actually called 'el ein el sehreya', literally meaning 'the magic eye'. Actually in this context, the translation is beneficial as it makes more sense in communicating the installation since a video stops when a person enters the room. Then they become anxious and must follow their eyes to catch the next video playing on the door outside, which also stops and the one inside starts again. The best way to watch then becomes by viewing through peephole or 'the magic eye'. I did this using Pure Data (Pd) programming language for interactive technology which is a whole other language! We 'learned' the 'language' over a 4 months workshop with the founders of Pd You can find the video on my vimeo page. Thanks a lot for your time and for sharing your thoughts, Nork. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
I will continue to work with stories and realities that inspire me using the two mediums of expression which are dearest to me; film and music. I'm in post production stage of an independent documentary I'm making called Poetic Livers. It's a docudrama in Yerevan involving real characters but shot in the style of a short narrative film. It stars Levon Harutunyan an elder professional Armenian pianist, and his fretful relationship with his piano tuner. Their confrontations reveal an interesting dynamic in their volatile friendship, while exposing viewers to the struggle of underpaid artists and artisans in Armenia whose livers have fallen out of tune.