[image: Miroslaw Balka's The Unilever Series, How It Is] Carmen

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Miroslaw Balka's The Unilever Series, How It Is

Carmen :: thinking somewhere between the work I am doing with composers in Mexico and the work with Ghana Think Tank. Intervention and relational aesthetics are two terms that came up often in discussion at Eyebeam. Interaction and mapping are two concepts that we consider in composing interactive music. I wonder what these two processes could say to each other. I found this interesting discussion about relational aesthetics on
Sociologically.net. Someone brings up Miroslaw Balka's The Unilever Series, How It Is as an example of a sound work that explores the "realm of human interactions and its social context, rather than the assertion of an independent and private symbolic space." This is the case because visitors create a soundscape when walking inside the enormous steel chamber. I didn't have the pleasure of experiencing the work but from what I understand others can also walk beneath the structure and hear and feel the pounding of footsteps overhead. In the opinion of one man "it only becomes an art piece when the public audience are participating. No foot steps, no feeling of claustrophobia, no other people, no feeling of in/out." Relational aesthetics in a sound work? Then Kevin brought up the very good point that in composing interactive multimedia we are always considering the realm of human interactions, not just that of the audience with the work or with each other within the work but of audience and performers with a technological system as well. In a sense we are designing potentials for action. Fascinating.