EnkrrOach

Describe your idea and concept of your work in relation to the festival outlines:

'“What if dialogue is fucked?” And I laughed with sudden clarity.'

I laughed the same too, because that is the idea I have been tinkering with.

We are so used to the comfort of our own territory of understandable language that it becomes easy to cast away the unintelligible. It is so easy to create the Other. We trivialise it.

The gibberish is also the space of the trivial. It is a cast-away. Because it is not understood, its potential value is immediately depreciated. It is undermined and pushed aside as something of no significance. But the trivial utilises this logic to open a paradoxical relationship with the speaker - when what the speaker believes is of importance, and adds value to his own legibility, it is the listener as the Other, who trivialises him, who imposes the status of what is worth and what is not worth and thus creates a hegemonic relationship.

When it comes to putting things in context, the human mind is an expert at finding meaning even when there is none. When it comes to gibberish, or even to a different language which a person knows not, one tries to make significations and association to the emotive sound utterances. But there is always an anxiety, because the signification may not be what was intended. This anxiety comes from the brain trying to locate the appropriate meaning but failing to do so. The anxiety resides in this malfunction, in this garbling - in the inability to find a landing ground between the utterance and a known image.

My work "EnkrrOach" takes the recognizable Roman characters and creates a generative visual of a string of nonsensical text. The projection is a rapid and continuous placement-over-placement and disappearance of gibberish. The accompanying audio is also illegible, non-understandable, and yet it communicates through the tonal modulation, the loudness, the whispers, the pauses. It was originally projected over a set of two glass windows in the dark.

What kind of communication approach do you use?

Gibberish, as the pre-linguistic, primeval form of sound utterance. It is such emotive sound units that are ultimately made manifest into a repetitive structure to create conformist associations and thus be understood. The work itself utilises Code. But the visual is instrumental in depicting a constant formative mode of a language - in its disappearance and reappearance, it is always in the process of becoming, and thus from it becoming codified. It is in the act of encroaching more space, but always floating and never settling.

What are in your opinion concrete benefits to the society because of your communication?

As a visual communicator, I can only bring to fore images and instances that raise an awareness to issues through metaphorical comparison or juxtaposition. But if in this awareness people become conscious of situations as they face it, if they are able to make associations and find better modes of approaching a circumstance, I will be glad to have had a hand in that.

Language and gibberish is always in constant motion. It is pulled in and pushed out, creating a swarm of legible and illegible. In the same essence, society is always creating unequals and minorities in order to function. If one can be receptive to the underlying structure, they may be able to create the energy force required to push things around.

In my work that depicts an unintelligible linguistic formation, it was a rare few who stood and listened the full length of the audio. If a minority is able to be receptive to the minor language, there is still a chance for an energy formation.

What did you personally learn from creating your submitted work?

In short, language formation and language intelligence. It made me realise how constructed I am and how the more I seek to communicate better, the more I fall into the hegemonic construction. It feels like a necessary violence on oneself.

Yet, a few days back, I learned how anxious one becomes when one wants to understand but is unable to: I helped a crow that was tangled and hanging by the tip of its wing from a kite string. After freeing it, it hopped off somewhere while I was busy working. But since then, two of its companions kept coming back and calling me out all the rest of the day. One of them, it felt like a female one, not sure.. she kept looking at me and hitting the bamboo or the tree branch, whererver she perched. She kept hitting it aggressively trying to tell me something - maybe she still needed help since she did not touch the food I kept. I felt so angry that I couldn't understand her need. I tried to look for the injured one, but could not find it. Crows have 250 different calls - where do I begin?

This experience combined with my own artistic concern made me consider how important language becomes in creating civilisational harmony. That being receptive and patient is only the first step.

Why is your work, GOOD communication WORK?

Haha, it's actually BAD communication work. :D
A deterioration that seeks territorialisation - an attempt to grasp at the nuances of language formation. How do you communicate if you do not know the other person's language? How can language in formation become information?

Where and how do you intent do implement your work?

The artwork itself may be exhibited by projecting on glass, but it can find different modes of exhibitionism. But this idea may be taken further and juxtaposed with other situations.

Did your intervention had an effect on other Media. If yes, describe the effect? (Has other media reported on it- how? Were you able to change other media with your work- how?)

Sorry, I do not understand this question. Do you mean, Media as in News Reportage? Or Media as in Materials used to create art?
If the former - no.
If the latter - perhaps it wasn't an "intervention" in the exact sense. But the generative quality that coding offers and then to work with anti-coding is an interesting area to work with.