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Cacophony is a video exhibition of Aysegul Suter, Ozan Turkkan, Candas Sisman and Pinar Yoldas, who work at the crossroads of science, technology and art. It is about researching contemporary forms of existence, which is generated by the processing and remediating of noise and dissonance. 

Today neoliberal hegemony adopts a kind of governmentality, which operates by remediating, commodifying and controlling emotions that are run into work, and reproduce the processes of immaterial and affective labor. Accordingly, one of the targets of contemporary biopower is neurons. The operationality and functionality of neurons that are occupied from different channels and sources... 

A processual “obsolescence design” accompanied by a “political economy of ecological excess and waste” is at stake here. Those that are imposed to the distributed and depleting violence of repetition are occupied and transformed into the remediated agencies of control, not to become-wasted, and to possess the power of the hegemonic. 

The epidemic virality of the flows of imitational resistance and mutations, on the other hand, are considered as “noise” by those that are transformed into the remediating agencies of neoliberal hegemonic control. Therefore, noise emerges to be a problem of excess as well as junk to be ignored and removed for those that sustain their existence and authority by way of representational mechanisms. 

Generating within and by noise, cacophony emerges by dissonances and the ungovernable. Cacophony derives from κακός (kakos, “bad”) and φωνή (phonē, “sound”). 

As a techno-scientific and artistic intervention, cacophony encounters with the alterities produced by hacking, trolling, jamming, glitch, and errors. It reveals ontological and heterogeneous power of singular resonances within noise.

Curator: Ebru Yetiskin

Ebru Yetiskin is an Istanbul based researcher, who is teaching sociology and media in Istanbul Technical University. Working on the contemporary forms of neocolonialism, and interactions among science, technology and arts, her first curatorial work is based on a concept, which she has been working for a while: “cacophony.” Giving lectures in New York University and Inholland University as a guest lecturer, and becoming a member of International Art Critics Association, Yetiskin has been conducting a research on how to read and write new media arts. She has been organizing performance-lectures, workshops and panel sessions in prominent institutions and events in both Turkey and abroad. She is also one of the organizers of Amber Art and Terchnology Festival since two years.

Deviation and refraction of information and data by the abundance of flowing messages, discussions, forums, panels, news and research…

Distracting from the meaning by generating a seductive space of blurriness and attempting to remediate these spaces… 

The sensuous experience of the audience, which is exposed to the refractions of sound and colors in motion filling the temporal space, is itself the work of art. The (non)operational and dys(functional) experience, which gradually becomes irritating, makes the viewer a part of the work as well. 

The motions encapture the space is created by the “neuronic refractions” and reflections of the light source repetitively hitting the mirror-like plane. The reflected imitative and repetitive refractions of colors and bits of sounds transform into the performativity of blurriness and fuzziness. 

Aysegul Suter (1982) grew up in Istanbul. With a hefty amount of scholarship from NYU – Tisch School of the Arts, in Animation and Digital Arts program, she honed her artistic skills as an independent artist. As an emerging artist, she exhibited her video installation pieces in various exhibitions both abroad and in Turkey. Also she took part in a music video with her animations, collaborated with a computer engineer for interactive projects, worked as a VJ for various art venues, worked as a videographer for an orchestra conductor. She is integrating video, animation and interactivity in order to explore the possibilities and potentialities about space, motion, perception and audience engagement.

By way of the sounds and the images of tapping, scraping and pulling of some kind of wires, cords or strings, something gets on the nerves of the urban dweller.

Focusing on the interplay between the organic and the inorganic, Edicisum traces the circuits of the brain. Micro-temporalities of speed do not allow grasping an image or a sound, each time, it is already trespassed. The flow of time-images, which displaces the running time with micro-split second interventions do not leave us with a critical distance and contemplation, but acts immediately on a pre-reflexive or a pre-linguistic level of thought. 

This multi-circuit of affects and precepts is also activated by a shock, a ‘’nooschock’’, 'neuro-physiological resonances' in the brain of the viewer by the timing of the intervening images and sounds, and thus forms various movements. Returning to an embryonic status and putting the viewer in the well-protected plasma of a mother’s womb, an affective confrontation produces such simple and pure emotions, instead of logical thoughts and pieces by the multi-circuits of molecular processual interactions of organic and inorganic materials. 

Candaş Sisman (1985) completed İzmir Anatolian Fine Arts High School and he graduated from Eskişehir Anatolian University Animation Department. During his undergraduate studies he took multimedia design education for one year in Netherlands. In 2011 he founded NOHlab studio with Deniz Kader. Since 2006 he has received many awards such as honorary mention from ARS ELECTRONİCA in Computer Animation/ Film /VFX category and Rome Viedram Festival Video and Sound Design best prize. He has participated to many important festivals like Nemo Digital Arts and Film Festival and Offf İstanbul 2012. Candaş Şişman realized “Yekpare/Monolithic” projection mapping with Nerdworking within İstanbul 2010 European Capital of Culture activities and ‘FLUX’ audiovisual installation among İlhan Koman Hulda festival in İstanbul.

This video shamelessly employs superstimulation as its aesthetic methodology, a multi-layered cerebral Superstimuli as well as a fresh multi-modal cultural criticism.

SuperStimulus, short for supernormal stimulus, is an exaggerated version of a stimulus to which there is an existing response tendency evolutionarily. Superstimuli hold a social and political significance as the aesthetic modus operandi of Hardt and Negri’s “Empire”. In the grand commodification of life, designing, producing and distributing Superstimuli has been a crucial move to fabricate, replicate and eradicate desire. What Tiqqun calls the The `anthropomorphosis' of Capital, is only possible by superstimulating the masses. 

Pinar Yoldas is a cross-disciplinary artist, all-in-one designer and a neuro-enthusiast. Her work investigates the transformation of social and cultural systems in regards to biological and ecological systems. She has been awarded fellowships at MacDowell Colony, UCross Foundation, VCCA and National Evolutionary Synthesis Center. She is the current recipient of the Transmediale Villem Flusser Art/Theory Award. Pinar has a Master of Fine Arts degree from University of California Los Angeles. Currently she is a PhD student in Visual and Media Studies program at Duke University, where she's pursuing a certificate in the Center for Cognitive Neuroscience. Her research interests include bio-art, art-neuroscience interactions and subversive gaming interfaces. Prior to her education in the United States, she has received a Bachelors of Architecture from Middle East Technical University, a Master of Arts from Istanbul Bilgi University and a Master of Science from Istanbul Technical University. She holds a bronze medal in organic chemistry in the National Science Olympics in Turkey and had her first solo painting exhibition when she was five.

Bipolar Fractal is an abstraction in moving images on bipolar states of mind.

Alternating episodes between mania and depression, ascending and descending states of experience are processed through geometrical mutations and dynamic movements of Rutt Etra-like synthesized fractal forms and corresponding frequencies of sounds. 

Bipolar Fractal works with how abject information and aberrant signals mark destabilizing moments within the same system that it captures or banishes errant expressions. 

Brussels and Istanbul based new media artist, Ozan Turkkan was born in Tekirdağ (Thrace), Turkey. He worked many years in the field of multimedia and digital art in different countries in Europe, Istanbul and the U.S. Before the very first steps in digital media, he studied different art disciplines in Istanbul, Philadelphia, and Salamanca, at the University of Salamanca. He received his Masters in Multimedia at BAU (Escola Superior de Disseny) in Barcelona, where he lived and worked many years as a new media artist. His work is centered mainly in experimental and digital media, and specifically in visual complexity, generative computer art, algorithmic art, fractal geometry, experimental video and interactivity. He is using new computer tools, algorithms and generative grammar programming languages to generate still and moving art works and he develops interactive media installations.

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