SERGEY KOMAROV

The object is a show case with bronze sculptures. There are seven of them. It could be the seven days of the week, or the seven senses, it could be the seven states of consciousness, the seventh race, the seven deadly sins... and do I know? I like to improvise intuitively in sculpture and I like the number seven. The object is connected to a keyboard that affects the sculptures with light and sound.

Through the ‘Subjectivization of Sound’ performance and installation series CYLAND MediaArtLab artists Sergey Komarov and Alexey Grachev present their work and experimentation with sound.

Sound, like water, is capable of taking the form of its container, ready to adapt to everything and transform itself. Sound, like water, can flood a space and fill it, bouncing from one wall to another. Sound, in its graphic representation, is made of waves, amplitudes and sinusoidal curves, just like water.
The double project of Alexey Grachev and Sergei Komarov, sound artists and engineers, emphasize this similarity.
"Far field" is a six-channel sound installation that runs through a 25 meter long alley, accompanying the steps of visitors. The recorded sound of water from the shore of the Gulf of Gaeta is brought to Maranola and electronically processed until it becomes abstract white noise, unreal and yet similar to a monotonous and chaotic stormy sea.
The installation culminates in a live performance in a courtyard, space that calls for both intimacy and concentration.
"Subjectivation of sound" is a performance in wich the score changes according to the context and where instruments are analog synthesizers and software created by the artists themselves. The electronic synthesis gives shape to an artificial. liquid and iridescent music.

For the reason that the computer removes one from the body, the body should be strongly engaged.For the reason that the computer is purely logical, the language of interaction should strive to be intuitive. For the reason that the computer’s activity takes place on the tiny playing elds of integrated circuits, the encounter with computer should take place in human-scaled physical space. In the kitchen.

The 1:1.78055*10^226 is an experiment in chaotic programming of the digital FM synthesizer Yamaha TX7 (1985). This is a desktop version and is one the bestselling synthesizers in history — Yamaha DX7. But it has a lack of interface where sound patches can be edited. Over 150 parameters should be controlled via the old-fashioned MIDI System Exclusive (SysEx) messages, instead of the familiar and convenient CC controllers (continuous controller number).

The basis of the project is live streaming. It takes place on the social network Instagram with two accounts that the artists created specifically for the exhibition. The installation consists of a smartphone and the screen. The smartphone is attached to the counter, and the LC display is situated in front of it. The first account is opened in the phone; it is streaming live. The second account transmits a connection to the broadcast of the screen. One device looks at another; the screen for live-stream viewing repeats endlessly. An endless digital tunnel appears that stretches off into the distance. All the visitors of the exhibit end up in this tunnel — those who pass between the phone and the monitor and those who connect to the broadcast from their gadgets.

In this work, the cloud of murmuring dots-birds represents the wave of migration that occurred in 2022. This is a flock of temporarily settled people who have found a place under the roof, but dreaming of returning everything as it was. They are circling, preparing either to settle down, or to move somewhere further.

Sound artists Alexey Grachev and Sergey Komarov continue their research series ‘Subjectivization Of Sound’ with the new experiment 1/3.44743*10251.
The creative duo specializes in various research of sound both as a physical entity and as a sensitive medium in the artists’ toolbox. The ‘Subjectivization Of Sound’ project studies different problems of interfaces and communication of analog and digital syntheses, computing equipment and the world around.

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The project is at the junction of net art and found art. An archive of digital images was gathered in the internet by Sergey Komarov.

One of the directions in collaborations by Aleksey Grachev and Sergey Komarov, is the study of animate and inanimate noises found in nature. In this work, the artists conduct an analysis of time-space. Using precise accelerometers and amplifiers, they register the noise of sand that trickles in an hourglass on the magnetic tape. This sound is analyzed using a regenerating-computing system, accurate to a grain, and the "quanta" of time gets recounted. The work is stereophonic: sound reflects the time, and, in effect, it is time departing from one headphone channel and arriving in the opposite one, having flown through the space listener. This installation is simultaneously a vocalization of time and an attempt to quantize and recount it.

The installation is an 8-channel sound work, where time signals are subsequently interfered with children counting out rhymes. The time signals have a strict utilitarian purpose and are used as a reference to determine the time of day. Not only humans but machines too are sensitive to it.