SOUND ART TRIENNIAL
8th, 9th, 10th February 2018 – Electrowerkz, London
RYAN JORDAN (UK) ➣ Psyche’n’Noise
Ryan Jordan’s Possession Trance uses stroboscopic light, basic electronic circuitry, crystals, smoke and metal to superimpose a fluorescent grid which clamps onto the mind like thousands of fingers sinking deep inside the brain, pulling out neural pathways in all directions. The pathways split into two rotating cylinders folding in opposite directions revealing a doorway into some kind of psychedelic reality matrix. Far more potent than those Burroughsian opiate dreaming machines. These are the dank back alleys of the Core clans; turbo charged amphet-psycho-tryptamine splittercore; highly potent chemical potions releasing anxiety ridden, fraudulent time-travel. We live on the peripheries of our own being. The holoflux is engaged and the voices begin to blur: “The effect is mentally destabilising” … “that lizard part at the back of your brain takes over” … “rave musik from some dystopic future place” … “Frankenstein-like webs of copper wire and rocks” … “you think you can see the tracery of your own retina” … “simple, theatrical and utterly terrifying” … “the closer to the flashing core of the strobe light the stranger it becomes” … “you feel like you’re in the middle of a war-zone” … “close your eyes and you see colours and patterns like a kaleidoscope” … “It was like being on a hallucinogenic drug” … “White heat strobe emissions; heart pounding kicks;total sensory overload and temporary ego death” … “ecstatic and literally transporting experience, removing us from the room” … “asynchronous brain cell firing” … “completely earth-shattering” … “so awful that I was praying for a power blackout” … “Just don’t take acid or mushrooms beforehand as you will most probably end up being sectioned” …
These are artists who want to push you as a listener, viewer, toucher, taster. They feel the competing powers that define human and inhuman experience and press this open the audience. This is work that requires the presence of the artist and the engagement – sometimes submission – of the public. Your senses will thank you for the embrace that is DELIQUIUM.
Prof. Paul Hegarty | Sound Art Curator