SYN-Phon

source: csismn

Budapest Art Factory (BAF) is pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.

Graphical notation and composition by Candas Sisman
Barabás Lőrinc: Trumpet
Ölveti Mátyás: Cello
Candas Sisman: Electronics and Objects

Coming about to understand the human nature of comprehending linguistics is that of a complex take –on. The constituent elements of language, in general content, bring forward the theory of other minds sharing, with intentioned communication.

Thought varies with the use and absence of language that comes to be found in line with the development of thinking and impulses from our daily surrounding. Eventually language creates our point of view just as much as our ideas and perception of matters, individualistically.

Art plays a crucial role in demolishing the boarders of our comprehension our mindset is framed into by literate language. Human language serves as a rather conservative form of communication when comparison to musical language; where the freedom of space employs as a resort for that broad horizon of that, that in search of cutting-edge form of broadcast.

Candas’s trials of combing various forms don’t necessarily imply the mere creation of a pioneering flash but rather the use of the endless possibilities in associating the known and unknown. Through the unknown, we come about with a new way of thinking that tries to substitute and make space for a new tool of self-expression. Conclusively the graphical notation gives liberate opportunity in creating one’s personal language that holds its basis on feeling the visual and sound in parallel.

Phonation, in accordance to Candas is the presence of sound language in SYN- Phon where the structure is supported by the synthesis itself. Music in its myriad forms extends to exploiting a communicative human language, thereby making the conceptual idea much more of significant importance than the actual tool. For Candas the presence of music in positively charged negatives spaces is a key element for substitution of the unknown seeking to be expressed. By the happening of SYN-Phon the line of musician will be crossed into a rather freely inflicted composer. Lőrinc and Mátyás as the musical inputs , on trumpet and cello respectively, of the performance will attain free expression
rightfully to the impulses in line of creating a new language.

SYN-Phon sound performance will demonstrate an articulation based on Candas’s intimate collective findings of Budapest during the month of June. Buda and Pest in the separate geographical allocation hold different quintessence natures, in addition to the anecdote of recent flooding events of Duna the performance is meant to reach out to the audience as a sensual expressive language. The sound performance will include sounds, constructed and picked up in Budapest recorded by Candas himself.
The whole bulk graphical notation will be available in print form to be part of the introductory assimilation.
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source: fileorgbr

Abstract:
Budapest Art Factory (BAF) is pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.
Graphical notation and composition by Candas Sisman
Barabás Lőrinc: Trumpet
Ölveti Mátyás: Cello
Candas Sisman: Electronics and Objects

Coming about to understand the human nature of comprehending linguistics is that of a complex take – on. The constituent elements of language, in general content, bring forward the theory of other minds sharing, with intentioned communication.
Thought varies with the use and absence of language that comes to be found in line with the development of thinking and impulses from our daily surrounding. Eventually language creates our point of view just as much as our ideas and perception of matters, individualistically.
Art plays a crucial role in demolishing the boarders of our comprehension our mindset is framed into by literate language. Human language serves as a rather conservative form of communication when comparison to musical language; where the freedom of space employs as a resort for that broad horizon of that, that in search of cutting-edge form of broadcast.
Candas’s trials of combing various forms don’t necessarily imply the mere creation of a pioneering flash but rather the use of the endless possibilities in associating the known and unknown. Through the unknown, we come about with a new way of thinking that tries to substitute and make space for a new tool of self-expression. Conclusively the graphical notation gives liberate opportunity in creating one’s personal language that holds its basis on feeling the visual and sound in parallel.
Phonation, in accordance to Candas is the presence of sound language in SYN-Phon where the structure is supported by the synthesis itself. Music in its myriad forms extends to exploiting a communicative human language, thereby making the conceptual idea much more of significant importance than the actual tool. For Candas the presence of music in positively charged negatives spaces is a key element for substitution of the unknown seeking to be expressed. By the happening of SYN-Phon the line of musician will be crossed into a rather freely inflicted composer. Lőrinc and Mátyás as the musical inputs, on trumpet and cello respectively, of the performance will attain free expression rightfully to the impulses in line of creating a new language.
SYN-Phon sound performance will demonstrate an articulation based on Candas’s intimate collective findings of Budapest during the month of June. Buda and Pest in the separate geographical allocation hold different quintessence natures, in addition to the anecdote of recent flooding events of Duna the performance is meant to reach out to the audience as a sensual expressive language. The sound performance will include sounds, constructed and picked up in Budapest recorded by Candas himself. The whole bulk graphical notation will be available in print form to be part of the introductory assimilation.
Biography:
Candaş Şişman(1985, İzmir) studied fine arts in İzmir Anadolu High School for Fine Arts and graduated from the Animations Department of Eskişehir Anadolu University in 2009. He spent his one year of college receiving multimedia design training in Holland (2006-2007) With Deniz Kader, in 2011, he founded “NOHlab”, a project which generates collective projects in arts and design.
Candaş Şişman aims to manipulate our notion of time, space and motion by his work, using digital and mechanical technologies. Taking the sciences of nature and universe as his reference point, the artist combines physical forms with images that are produced digitally. Thus a bridge becomes visible, between the physical world and the digital world. The works of Şişman stand on a complex base, but the forms are simple, allowing the audience to engage in intellectual interaction with the artwork; in which “process” is the structural element of utmost importance.
Candaş Şişman has received several awards since 2007, among which are an Honorary Mention from Prix ARS Electronica Computer Animation/Film/VFX and Best Prize in Sound Design from Roma Viedram Video Festival. He has participated in many new media festivals, such as Nemo Digital Arts and Film Festival, ARS Electronica and Todaysart Festival. Candaş Şişman recently realized Yekpare projection mapping with Nerdworking within İstanbul 2010 European Capital of Culture activities and ‘FLUX’ audiovisual installation among İlhan Koman Hulda festival in İstanbul. The artist is living and working in İstanbul, represented by PG Art gallery in Turkey.
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source: invasionabisal

La música no es un lenguaje abstracto, es muchos. Y para demostrarlo, la Fábrica de Arte de Budapest (Budapest Art Factory) presentó SYN-Phon, performance basado en notaciones gráficas por Candaş Şişman, con el apoyo de Barabás Lőrinc & Ölveti Mátyás.

La interpretación visual del ruido y la armonía, las representaciones gráficas de la música, la búsqueda de modos alternativos de comunicación, menos corrompidos que el lenguaje verbal, son los cimientos conceptuales de esta pieza. El performance, que también incluye sonidos capturados en Budapest, traza una constelación de ideas, sentimientos y sensaciones, traducidas al abstracto por la artista. Se trata, en pocas palabras, de la transmigración del sonido en el espacio. Al pie del video se abunda en una explicación que me permito sintetizar:

El pensamiento varía con el uso y la ausencia de un lenguaje que se encuentra alineado con el desarrollo del pensar y los impulsos de nuestros alrededores diarios. Eventualmente el lenguaje determina nuestra percepción y nuestras ideas. El arte juega un rol crucial al demoler las fronteras de la comprensión, nuestra mentalidad se encuentra enmarcada en el lenguaje literal. El lenguaje verbal humano sirve como una forma conservadora de comunicación cuando se compara con el lenguaje musical, el cual se vale de la libertad espacial como un recurso que amplía los horizontes de una nueva forma de transmisión. Este trabajo explora las posibilidades de asociar lo conocido con lo desconocido en busca de una nueva herramienta para la expresión de uno mismo. La notación gráfica otorga la oportunidad de crear un nuevo lenguaje personalizado en que lo visual y lo sonoro transcurren en paralelo.
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source: csismn
Candaş Şişman(1985, İzmir) studied fine arts in İzmir Anadolu High School for Fine Arts and graduated from the Animations Department of Eskişehir Anadolu University in 2009. He spent his one year of college receiving multimedia design training in Holland (2006-2007) With Deniz Kader, in 2011, he founded “NOHlab”, a project which generates collective projects in arts and design.
Candaş Şişman aims to manipulate our notion of time, space and motion by his work, using digital and mechanical technologies. Taking the sciences of nature and universe as his reference point, the artist combines physical forms with images that are produced digitally. Thus a bridge becomes visible, between the physical world and the digital world. The works of Şişman stand on a complex base, but the forms are simple, allowing the audience to engage in intellectual interaction with the artwork; in which “process” is the structural element of utmost importance.
Candaş Şişman has received several awards since 2007, among which are an Honorary Mention from Prix ARS Electronica Computer Animation/Film/VFX and Best Prize in Sound Design from Roma Viedram Video Festival. He has participated in many exhibition and festival, such as Venice Architecture Biennale, TED X, ARS Electronica, Todaysart Festival and FILE Festival. Candaş Şişman recently realized Sonicfield-01 Sound Installation in Venice Architecture Biennale and ‘FLUX’ audiovisual installation among İlhan Koman Hulda festival in İstanbul. The artist is living and working in İstanbul, represented by PG Art gallery in Turkey.
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source: dermetabolistde

Eine sehr ästhetische wie akustisch fordernde Installation aus Budapest: Für SYN-Phon haben der Künstler Candaş Şişman in Zusammenarbeit Musikern Barabás Lőrinc & Ölveti Mátyás eine sehr stilvolle grafische Notation erschaffen, die dann kollaborativ in Sound umgewandelt wurde. Das Ergebnis liegt irgendwo im Bereich der Neuen Musik, verbindet aber, wie ich finde, sehr gekonnt visuellen und akustischen Reiz.
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source: artribune

Possiamo definire una partitura come una scrittura musicale, che della musica opera una visualizzazione, traducendola in segni e dunque in immagine? O è forse la musica solo un’interpretazione acustica di una partitura visiva, di un testo composto da simboli, codici, valori? Una soglia sottile, quella tra le due accezioni. Un soglia che spesso si è dissolta, impallidita, complicata, sfilacciata. E lungo la quale si è consumato, nei secoli, il miracolo di alchimie creative sempre nuove.
Candas Şişman, giovane artista turco dedito alla ricerca elettronica, sonora e multimediale, nato a Smirne nel 1982, fondatore di NOHlab studio con Deniz Kader, ha esplorato questo complesso campo estetico-linguistico attraverso il suo recentissimo SYN – Phon: un progetto elaborato la scorsa estate, durante un suggiorno di ricerca presso la Budapest Art Factory (BAF), come secondo ospite del programma di residenze annuale dell’Istituto ungherese.

Il lavoro è sfociato in un evento performativo, tenutosi la sera del 29 giugno, insieme ai musicisti Barabás Lőrinc e Ölveti Mátyás: tromba, violoncello e suoni registrati dallo stesso Şişman in luoghi diversi di Budapest, si fondono con la notazione grafica concepita come flusso armonico ed astratto. Un esperimento di composizione, scrittura ed improvvosazione, tra arte del suono e arte del calcolo numerico, offerto al pubblico in una forma coinvolgente; il tutto partendo da una comparazione teorica tra la comunicazione concreta, codificata, conservativa della lingua e quella effimera, universale, audace della musica. Così, tra quel “syn” e quel “phonè” c’è tutta la condivisione e il simultaneo risuonare delle voci, le forme, le icone, le energie intercettate lungo il solco del linguaggio e tramutate, dall’arte, in esperienza demiurgica, di capovolgimento e di rottura. Nuove scritture, nuove visioni, fuori dalle linee già tracciate.
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source: fileorgbr

Abstract:
“SYN-Phon” é uma instalação de timeline arte em que o artista desenvolve interfaces gráficas sincronizadas com os sons, os quais foram produzidos a partir da pesquisa realizada durante a sua residência em Budapest Art Factory (BAF).
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source: csismn
Candaş Şişman(1985, İzmir) studied fine arts in İzmir Anadolu High School for Fine Arts and graduated from the Animations Department of Eskişehir Anadolu University in 2009. He spent his one year of college receiving multimedia design training in Holland (2006-2007) With Deniz Kader, in 2011, he founded “NOHlab”, a project which generates collective projects in arts and design.
Candaş Şişman aims to manipulate our notion of time, space and motion by his work, using digital and mechanical technologies. Taking the sciences of nature and universe as his reference point, the artist combines physical forms with images that are produced digitally. Thus a bridge becomes visible, between the physical world and the digital world. The works of Şişman stand on a complex base, but the forms are simple, allowing the audience to engage in intellectual interaction with the artwork; in which “process” is the structural element of utmost importance.
Candaş Şişman has received several awards since 2007, among which are an Honorary Mention from Prix ARS Electronica Computer Animation/Film/VFX and Best Prize in Sound Design from Roma Viedram Video Festival. He has participated in many exhibition and festival, such as Venice Architecture Biennale, TED X, ARS Electronica, Todaysart Festival and FILE Festival. Candaş Şişman recently realized Sonicfield-01 Sound Installation in Venice Architecture Biennale and ‘FLUX’ audiovisual installation among İlhan Koman Hulda festival in İstanbul. The artist is living and working in İstanbul, represented by PG Art gallery in Turkey.