SIGNAL: journey of noise-appreciation.

It started back in 2009 when I began to be interested in large industrial complexes. Slowly, I learned how these temples of work transformed cities and cultures in general; and how some things are made. A huge leap forward in this case was when I got an opportunity to spend a day in a foundry and actually see all that on my own. I found some strange visual beauty in it, which was very appealing to me. I started making trips just to visit various industrial sites, and it got reflected in my work: suddenly most of my photography and paintings were focused towards factories, power plants, smokestacks and so on - and it didn't end there. A couple months later I found myself strolling around freight railway terminals to listen the raw noises of moving wagons, getting on a roof of a forge to experience dark rumbling sounds of smashing steel, or sitting next to massive vents coming from a coal-fired boiler, that were echoing like organ pipes... the point is, that my taste in music converted as well.

Hanging out in a foundry, in 2010. Experiencing vivid colors of melted iron and huge industrial sounds influenced my work ever since.

I discovered musicians who incorporated recordings of such industrial sounds into their production, and eventually, I got into synthetic noises too.

All that resulted in a good sized desire to create something of this matter. The idea that I could orchestrate noises hands-on followed me for some years, until the fall of 2016, when I finally took a step ahead. I got a freeware virtual synthesizer, started to press buttons, turn knobs, and soon I preoccupied myself within a layer of audio mayhem. Sweet! I couldn't get enough of it..

Roughly at the same time, I learned that one you convert any electronic file into sound waves. It can be a .pdf, an excel sheet, but more importantly an image or a video.. then, one can edit it just as if they'll edit a song. This, obviously, cause a change of the original file (which fundamentally is not a sound) and will cause the file to be corrupted. When the corruption occurs in image data, it can result in a change of colors, blur, artefacts of noise... something most users would like to avoid - unless, you do all that on purpose.
The timing couldn't be better, as this visual noise works hand in hand with the audio noises.

It was a new world to me, and I enjoyed experimenting with it and producing deformed graphics. Similar to my musical progress, it was a path of a trial and error; but just as the music, I had fun making it. Soon, I felt a need to warp all of it into some package. Meanwhile, I was thinking about the load of information that is required to decode things properly. It was a couple of sleepless nights later when the project "SIGNAL" was born.

The video is made mostly from footage I captured in London when I used to live there. I intended it for a different project but ended not using it back then. Now, it came handy for the data-bending process - during which I noticed a pattern of a suppressed individuality across the city. 
This ultimately triggered the idea, that the human beings creating values within a metropolis possess some similarities with the wireless signals which surround them – their importance is tremendous as a unit of hundreds or thousands, but it vanishes when the unit is split into isolated cases. Merged aspects of achievements and vanity might graduate into an overdose of sensations, which is overwhelming but needs to continue to maintain the machinery of productivity.

“there are no names on our shirts..” (screenshot from the video)

Audio-wise, I accompanied the synths sounds with recordings of various noises outside, such as plenty of elevators sound across the city and trains at a local railway station. I also sampled a part of Saul Williams' poem "Gunshots By Computer," to complement the story.