Round TableBorut Savski (SI)

Electroacoustic system, 2003

Round Table is a complex electro-acoustic system, a space of all the possible discourses. It is made as a literary comprehended radio genre, as a collective and intuitive instrument which can become a music instrument, too. In an ideal case, playing/performing is enfolding as a communication between three men, within a very abstract space forming a round table - quite a 'disobedient' instrument. Three plates move left/right, alternately slowing down and speeding up, evading controls. Three men approach a basic system by approximating their (six) hands to the sensors which are actually antennas of twelve electronic theremin instruments.

Playing upon such an instrument is very much like a seance - the basis of art is a ritual, a spirit of art is invoked. In order to hear something more than just a noise, all the three participants have to reciprocally harmonize their acting upon the object. Communication enfolds within a sonic field (sound is a communication channel). Any kind of understanding (common meaning) is transferred within that channel. Of course, for the participant only. An observer usually plugs his ears ŕ without personal intervention communication channel stays closed.

Devices such as this one represent metaphoric objects for remote observance of psychological and social relations. Such objects are founded upon feedback and strength, which make up generative system. A man has made machines by his own very likeness - they are a man's metaphor. Naturally, this reflection includes God too. And when it comes down to Round Table we have satisfied ourselves with the ghosts.

Borut Savski (SI)

Borut Savski, born 1960 in Ljubljana/SLO, is an 'engineering soul straying away from any regulated use of technological, social, media and aesthetic principles'. His studies of electronics and radio production work (from 1983/84) allowed him to experiment with a sound and related media. In 1991 he began collaborating with artist Marko Koąnik on projects of the Egon March Institute. As a co-founder and collaborator of an informal group called Ministry of Experiment he participated at many multimedia projects between 1997 and 2000. As an organizer and executive he has taken part at radio workshops, concerts and new media communication and art projects. In collaboration with local (Marko Košnik, Mojca Marija Pungerčar, Luka Prinčič, Franci Cegnar) and international artists (John Grzinich, Ludwig Zeininger..) he made sound installations and performances (Biotope, Kapelica Gallery, Ljubljana/SLO, 1999, Sonic Point of View, Kapelica Gallery, Ljubljana/SLO, 2002, Aesthetic Machines, Kapelica Gallery, Ljubljana/SLO, 2003, Area Kolaborativa, ŠKUC Gallery, Ljubljana/SLO, 2004), Electrical Jesus, Warsaw/PL, 2004).