ONOMATOPOEIA - within the present future equals past

ONOMATOPEYA
ONOMATOPOEIA
ONOMATOPEIA
ONOMATOPEJA


This is a piece, on which I’ve been recently working. It’s rather a paper version at the moment, than a completed video piece. The video is going to be a probably a multiple screen projection, with about twelve screens. My basic idea was to record close ups of the face, so it would be possible to analyze the way the mussels work in ability to produce the facial expression. However it wouldn’t say anything else except how the face “language” works.
It isn’t satisfying.

Since making the clapping video I’ve become interested in this gestalt language, which is recognizable everywhere in the world, as a non-verbal opportunity to communicate. It hasn’t really changed. It’s like a constant within time, and I kind of love this sentence itself because of its paradoxical appearance. “Panta rhei” as Heraclitus spoke it, doesn’t work with the clapping for example and possibly with some other human made signs, or sounds.

As a material for my video piece I used all kind of human made sounds, the ones, which we make, when being amazed- ‘wow”, when we understanding- “aaaahhhh”, when we agreeing- “mhm”, and so one. What I find interesting is the fact that even without them being words, they do communicate, also the way they last unchanged.

The question is how am I going to make them work in the context of time. In the more general understanding of time, they represent the constant; I would say that within the present, future equals past. The sound last unchanged.

How does the gesture repeat itself in terms of memory? In general we memorize the sound, as it’s always pronounced more less the same, however within the constant repetition it looses its impact. It’s like within Bresson movies, where acting is repeated to the point when it becomes completely mechanical. And these are the mechanics within the human gestures, which interest me. Because of repeating the sound it completely looses it’s impact even if memorized so well.