Phase In, Phase Out

Sound installation / Performance.
48 + 5 channel textile sound system. Represented by Horizont Gallery, Budapest, 2018. Artistic research were carried out within the framework of PhD research project Soft Interfaces – Crossmodal Textile Interactions at the Doctoral School of the Moholy-Nagy University of Arts and Design Budapest, Hungary.

Materials: silk, CuNi+ fabric, neodymium, custom electronics, software. 400cm x 150cm (black), 230cm x 150cm (white)

Japan Media Arts Festival 2020 – Jury Selection, Art Division category



Textiles are the metaphor that string together the macrocosm and microcosm, the interwoven reflection of interpersonal relationships, the linking of vertices and edges to create a network, the second skin and the next interface for human-computer interactions. Tissue, textile and fabric are excellent models of knowledge, whereby knowledge can be understood as a perceptual experience.

Phase In, Phase Out uses space, time, sound, and light as materials and structures to address the happenings here and now. Sound as an informational source is described in terms of auditory attributes, such as timbre, tone, pitch, duration, loudness. These characteristics are analyzed and give relevance to the delivery of musical meaning. But sound is not only about deduced meaning, it is about physical energy shared. Sound as a vibrational force links humans bodies and matter at a material level via physical resonation. Human beings perceive sound, either when it is heard by entering the ear canal or when corporeally experienced. It is on and in our body that acoustic waves become discernible.
Phase In, Phase Out is the result of an art-based study on the crossmodal, employing sound, textile and space as one unified medium. By augmenting textile into a multichannel electroacoustic transducer, EJTECH explores the “alogogenic” properties of sound via the unique timbre of textile, through sound compositions or “electronic poems” specifically written for, and performed on a purely textile-sound system. The intrinsic materiality and expressivity of textiles, with their sensory-rich haptic experiences, create new methods to interact with and to experience sound. Patterns of high, mid and low range frequency tones sweep across the textile pieces, creating sound and resonating in physical territory. Phase In, Phase Out deals with the audio-physical experience of sound, space and matter which are determined in form and content by controlled vibrations of independent channels on the textile in order to reach new, elevated states of sensing and awareness by transforming our perception, unfolding the joint potentials of textile and sound as a spatiotemporal material process. The raw manifestation of sound as an existential pattern, and its vibrational force amount to a polysensorial experience and an exercise in liminality.


Exhibition Text at Horizont Gallery by Prof. Balint Veres (MOME)

“…The work consists of three elements: one stands, one lies and one hangs. Blue, black and white with plastic, spatial and visual qualities. Creating a hybrid of soft, rigid, and immaterial structures, in a random, but highly calculated spatial arrangement. Direct and indirect lighting, with exposed surfaces, adumbral sides and hidden faces. The three elements coincide with visible and invisible context systems: technical devices that feed the components through non-cut umbilical cords; information packets circulating between the devices and the channels between the objects; as well as the ephemeral sounding phenomena that emerge from these technology systems, which encompass the full spectrum of noise, plastic sound and music.

In the three elements of the installation of EJTECH, as we enter into this strong acoustical, semi-illuminated space, we can easily recognize the archetypical requisites of spiritual traditions: the totem, the tabernacle, or the axis mundi, whose vocation is to refer to transcendence in immanence. The altar, the instrument of celebration of the rite, a sounding and vibrating textile surface that has simultaneously conjured magical associations (flying carpet) and sacrificial imagery (the memories of silent fishes before sacrifice). Finally there is the icon or iconostasis, which is also a sanctuary, with its whiteness is the marker of illumination that is no longer visible to the eye. The main motif, that is certainly the first to appear in our eyes, is the spiral form, the visual and technological spiritus of the work. The spiral-shaped electromagnetic coils are means of sound generation with electromagnetic induction. The spiral, an archaic spiritual symbol, a symbol of faith in the center and a map of inner life practices.”

Photographies by Dávid Bíró

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