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Welcome to the Mind Palace - archives of artist Egle Saka.
Explore the extensive documentation, artists writings and the ever evolving body of work starting circa 2013 and up to date.
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EGLESAKA.COM
Sketches for D I S A P P E A R I I N G
"Sketches for D I S A P P E A R I I N G" is a profoundly immersive audiovisual journey that transcends the ordinary, inviting you to embark on a profound exploration of sight and sound. This collaborative endeavor harmoniously blends the creative energies of Egle Saka, the artist responsible for the evocative visual elements, and Marko Paunovic, the sound sculptor behind the hauntingly beautiful soundscapes.
Marko's compositions resonates with a ghostly beauty that has evolved over an extended period. Its final form was born within the hallowed confines of Radio Belgrade's Electronic Studio, where the vintage Synthi 100 synthesizer became a conduit for analog-digital magic. Magnetic tapes breathed life into the sound, preserving a timeless analog resonance. The composition is further enriched by field recordings from Croatia's islands and the mesmerizing voice of Maria Jonas performing Hildegard von Bingen, giving voice to an eerie and enigmatic soundscape.
Egle's videos, which draw inspiration from Marko's sonic narrative, create dark ambient visual companions to the soundscapes. These meticulously crafted sketches, characterized by themes of water, waves, fountains, earthly soil textures and elements of flora , weave a visual tale that mirrors the mysterious essence of ‘Sketches fo D I S A P P E A R I I N G.' In the intersection of these audiovisual elements, an intriguing dialogue between sight and sound takes shape.
The whole concept behind "Sketches for D I S A P P E A R I I N G" was conceived from the haunting story of the conceptual artist Bas Jan Ader, who disappeared into the sea during his final performance, 'In Search of the Miraculous,' in 1975. His enigmatic vanishing stirred a peculiar fascination with the mysteries of the sea and the unknown. In this upcoming album, Marko and Egle pay tribute to this conceptual artist's spirit, inviting you to contemplate the ephemeral and the mysterious, creating a harmonious fusion of sound and vision, one that evokes the spirit of Ader's compelling and unresolved disappearance. In this profound experience, 'Sketches for D I S A P P E A R I I N G' encourages deep listening and meditative exploration, guiding you through a unique introspective journey.
MARKO PAUNOVIC
FULL PLAYLIST ON YOUTUBE
Sketch No. 1
1. the compositional process is based on the reduction and repetition of the musical material.
1.1. anticipating the running of waves (always the same, yet always different) the ostinato line (tape-recorded track) is derived by placing (and placing again) differently-pitched layers into a repetitive counterpoint order.
7. not an homage, but a consecration.
7.1. to bas jan ader
7.1.1 and his (certainly non-narrative!) (odyssey-like) journey (no return) ’in search of the miraculous’.
[visual] - Visual narrative mirrors the ceaseless ocean, birthing and fading eternally – a perpetual circadian rhythm. [visual] - All videos have been re-scanned from old VHS tapes and captured with unique imperfections due to tape decay.
Sketch No. 2
2. although fragmented, the form can be observed as circular (whirling).
2.1. the repetition of practically identical pitches in the same octave position does not imply the experience of the music flow staticity.
2.1.1. the rejection of the imposed direction of movement may refer to a peculiar “monotony of moving still” (non-narrativity).
2.2. a single musical supstance fulfills the piece in its entirety (accumulation) (harmony).
2.2.1. a fragment acquires the meaning of the whole.
2.3. the time dimension is depersonalised (relativised) (positioned exclusively within the ephemeral moment (now)).
7. not an homage, but a consecration.
7.1. to bas jan ader
7.1.1 and his (certainly non-narrative!) (odyssey-like) journey (no return) ’in search of the miraculous’.
[visual] - This segment delves into the tactile world of soil, exploring its texture in monochromatic black and white. A visual journey through meditative walks over land that once lay beneath the sea.
[visual] - All videos have been re-scanned from old VHS tapes and captured with unique imperfections due to tape decay.
Sketch No. 3
3. chromatic (psychonavigational) sound whirl achieved by inciting the affective ((and) unconscious) contents imposes the role of an active participant on the listener.
3.1. ‘ ... the listener only perceives the models (or events) in sequence, concurrently trying to depict the context of the proposed musical continuum on their own. at some point during the listening, the diffuse attention of the listener, a result of the constant expectation of a shift in the music flow, emerges as an experience of ‘saturation’ which forces the listener to listen in a different manner, ‘from the start’.’
7. not an homage, but a consecration.
7.1. to bas jan ader
7.1.1 and his (certainly non-narrative!) (odyssey-like) journey (no return) ’in search of the miraculous’.
[visual] - Abstract exploration of the blurred world of flora, resembling the duality in perception. Twin windows mirror distinct but parallel inversions, revealing the essence of dualities within life itself.
[visual] - All videos have been re-scanned from old VHS tapes and captured with unique imperfections due to tape decay.
Sketch No. 4
4. the sound landscape (especially in live performances) is complemented by various sound stimuli (submarine recordings, field recordings of a distinctly pastoral character, electro-acoustic clippings...).
4.1. through the presence, getting closer and moving away, thickening and diluting, the composition obtains a specific spatial dimension.
4.1.1. especially relying on the physical characteristics of the performance ambience.
4.1.2. especially during the event.
4.2. noise (as (well as the) silence) is an integral part of the sound space texture.
7. not an homage, but a consecration.
7.1. to bas jan ader
7.1.1 and his (certainly non-narrative!) (odyssey-like) journey (no return) ’in search of the miraculous’.
[visual] - Subtle movements and the dance of underwater life draw the viewer into an immersive underwater experience, allowing them to become one with the watery surroundings. The captivating flow and patterns of a school of fish shape the visual narrative, guiding the observer on an aquatic journey that represents the deep waters of ones inner world.
[visual] - All videos have been re-scanned from old VHS tapes and captured with unique imperfections due to tape decay.
Sketch No. 5
5. ’defrosting’ of voice (hildegard von bingen (performed by maria jonas)) ((and thus) setting into the (performative) scene framework) adds to the intimate-religious character of the composition.
5.1. a shift from the text towards the hint (((intuitive) (suggestive)) (non-narrative) ambience)
5.1.1. is an attempt to set the piece into an imaginary order where (symbolic) meanings are torn out of the power field.
7. not an homage, but a consecration.
7.1. to bas jan ader
7.1.1 and his (certainly non-narrative!) (odyssey-like) journey (no return) ’in search of the miraculous’.
[visual] - The viewer drifts above the enigmatic, dark, and wondrous water reflections, entranced by the intricate ripples, perhaps seeking a mirror image of the self. Following the mesmerizing ripples to the fountain's edge, where ripples transform into endless droplets, falling back into themselves, forming a circle that continually replenishes the waters. This fountain's infinite concept suggests that it mirrors the formless and endless ocean of consciousness, the unified field of existence.
[visual] - All videos have been re-scanned from old VHS tapes and captured with unique imperfections due to tape decay.
Sketch No. 6
6. a fragment represents the thematic basis.
6.1. a fragment in repetiton (duration) represents its transpositions (continuum).
6.2. a fragment in repetiton (duration) is subject to transformative operations (’chance operations’).
6.2.1. the amplified sound (synthesized into a whole) moves towards variability in its own flow.
6.3. the ultimate sound content, almost from the very beginning, is being stored in the listener’s perception.
6.3.1. retaining the primary form (during the repetition (of the microtonal development (of the theme))), it remains unaltered (code confirmation).
6.3.1.1. the repetition is a reminder is a start anew.
6.3.1.1.1. and anew.
6.4. conceived as infinite 6.4.1. the composition acquires its ultimate form (only (after the end)) in the listener’s consciousness.
7. not an homage, but a consecration.
7.1. to bas jan ader
7.1.1 and his (certainly non-narrative!) (odyssey-like) journey (no return) ’in search of the miraculous’.
[visual] - The sea's horizon symbolizes the formless boundary, an entrance to consciousness. At its center lies a winding path, overgrown with mossy textures, leading to the edge of the horizon. It suggests that the viewer doesn't physically traverse the path but mentally guides themselves through it toward the expansive horizon. This piece invites deep meditative observation of the boundless ocean, creating a unique space for introspective reflection.
[visual] - All videos have been re-scanned from old VHS tapes and captured with unique imperfections due to tape decay.