Natural selection has provided Cartesius dubiahæsitanoquantapus with a unique plumage with which it blends with, and modifies, its environment. Seldom spotted and rarely heard, the existence of the species was in doubt until recent increases in awareness, particularly among the young. A descendant of Archaeopteryx photographica, dubiahæsitanoquantapus have been bred in captivity and yet nevertheless evidence unique instinctual behaviors. An example of one such tendency is that, although blind, dubiahæsitanoquantapus has been known to utilize a sort of coordinate geometry, by which they often conduct themselves along unexplored routes, having no reason to hope for success, but merely being willing to risk the experiment of finding whether or not the truth they seek lies there. This has been compared to the blind curiosity by which homo sapiens are possessed, and which drives them at times to rational rather than empirical beliefs, from which they then rebel. The variability of the outward appearance of dubiahæsitanoquantapus is matched by that of their song, which mimics both the mechanical utterances of other birds, and also the texts of French philosopher Renatus Cartesius (1596 –1650). In fact, it is possible to hear entire excerpts from Discourse on the Method and Meditations on First Philosophy melodically intoned and in a variety languages, interwoven into the texture of their song. Most often heard are extracts from Descartes’ work on music theory, the Musicae Compendium, interestingly, this particular song is never heard in translation, always instead appearing in its original latin.  though often variegated. JORGE BOEHRINGER – http://www.jorgeboehringer.com Jorge found and photographed this Cartesius dubiahæsitanoquantapus huddersfieldii on 19 May 2018: Huddersfield, United Kingdom. Sighted in Creative Arts Building University of Huddersfield, inhabiting a Raspberry Pi running Raspbian Stretch Linux.
Immersive Interactive Environments and Generative Behaviors in Sound and Spaces both Physical and Imagined by LIBAT with Jorge Boehringer and students from the University of Huddersfield
The performances and installation works documented here were
the result of a five day workshop held at the University of Huddersfield during the Electric Spring Festival 2017.
and another view:
Installation by Eleanor Cully and Jorge Boehringer from the Prague, Czech Republic exhibition CyberSpace # 2017.
This was one of many pieces presented in an exhibition of works created during a weeklong workshop investigating new conceptual and technical approaches to art making. The workshop was directed by Pascal Silondi and was a cooperative effort by Libat (CZ/FR) and Prague College (CZ). Special thanks to Jakub Grosz for the balloons and the University of Huddersfield for the contact mics!
CoRRespondence is a virtual reality and sound installation developed during CYBERSPACE #2017 workshop in Prague. The virtual world is composed of 40 instances of a live 3D stream from the gallery space combined with interactive drawing pendulums and dynamic line networks generated from sound input. Soundscape is generated using coded synthesizers that use data such as orientation of VR headsets and microphone inputs. Inspired by mind-bending concepts such as the holographic principle and the M-theory.
“Lost”, A Virtual Reality Space Survival Experience made of 3D scans and cut heads which reacts to surrounding sounds developed during the CyberSpace Workshop 2017. The event was proposed by Libat (FR/CZ) and PragueCollege (CZ). It was combining contemporary Arts and technologies with experimental and new electronic artistic forms of expression. The Exhibition was based on a 10 days workshop inviting artists, students and lecturers to work in an Omni-directional research Laboratory. The “Cyberspace Exhibition” aimed to propose different stimulating aesthetic experiences in what the public is performing as a set of disturbing agents who can introduce chaos into sensitive digital creations, involving alternatively emotions, behaviours, critical or alternative thinking, and capacity to act when surrounded by multimedia messages and representations. By using interactive and sensitive principles, the different artworks presented aimed to modify the traditional relation viewer-representation and to open artistic visions to improbable changes initiated by others, when our society claims that changes are impossible. Different types of contemporary media, techniques and languages were explored during the workshop like performance, installation, video and sounds-cape creation, interactive 3D environments and immersion in cyberspace using Oculus rift or HTC Vives Virtual Reality systems, augmenting bodies, instruments and objects by using different types of sensors and motors, MIDI/OSC controllers, Arduino boards, video tracking and motion capture techniques, visual programming and 3D game principles, etc; to develop inter-media prototypes based on dynamic approaches and to finalized interactive installations or performances for the Exhibition. The Team Pascal Silondi, Jakub Grosz, Jorge Boehringer, Eleanor Cully, Aya Akhmetova, Antonio Ferrari, Kristian Muchychka, Danylo Hovzan, Aliraza Shafiei Special Thanks to Klara Zaludova and Pavel Suchanek.
Spatialized Sound Creation for Virtual Reality 3D environments created in situ during the CyberSpace Workshop 2017.
some hacked and cheap attempts with ambisonic experiments in combination with interactive and generative principals
“When you see me again, it won’t be me.”
documentation of a
by Jorge Boehringer
first presented at the event
Sonikab 7: Monokab
held in Huddersfield
16 February 2016
produced by the BaconJam Collective
out of phase sine tones
20-15 hz and back
every 12 minutes
modulated by sine tones
every 6 minutes
driving a cup of coffee
in the black lodge
(one and the same)
Some documentation from our group exhibition Discrete Positions at Unit 9 Gallery, Huddersfield, UK:
This video documents three pieces by Jorge Boehringer.
These were exhibited in May 2015, as part of Discrete Positions
a group show atUnit 9 Gallery in Huddersfield, UK.
The pieces are – in order of presentation- Reflections on the Resistance of a Piece of Paper (paper, graphite), Al Green’s Tweeting Bird Supplements (mixed media), and What the Moss Heard (Order in Nature) -also mixed media. These were made in 2015.
Here is a documentary video from one of my pieces, Order and Nature (What the Moss Heard)
Hastily-made documentary of my show at Titanik-Galleria here in Turku, and some photos…
A step behind the waterfall grants access to the alien birdbath. Being stung by two bees twice in two days is lucky if I say it is.
This is a short film that attempts to capture or re-create something of the feel of the four installations that were part of my exhibition Fish Poems at the Titanik Gallery in Turku, Finland.
From Titanik’s website (http://www.titanik.fi/jorge-boehringer-fish-poems/)
Näyttelyni tiivistää suuria etäisyyksiä ja toisaalta asettaa pieniä asioita suurennuslasin alle. Muutamat kokemukset irtoavat ajasta ja toiset taas laajenevat jatkuvaksi läsnäoloksi.
Yritän ymmärtää joitakin havaintokykyni puolia. Korvaan, abstrahoin ja muovaan havaittuja asioita tai havaittuja tapahtumaketjuja elektronisilla toisinnoilla ja edelleen rinnastan niitä keskenään uusiksi kokonaisuuksiksi.
This exhibition simultaneously compresses large distances and magnifies small things. It takes some experiences out of time and expands others into a continuous now. I am attempting to understand some aspects of my perception by replacing the perceived object with electronic simulacra, or by abstracting and modeling those perceived systems of events, and juxtaposing them into new configurations.
Below are some photos and comments about the works that appeared in the show….they should shed some light on what can be seen from another perspective in the film.
outside at the opening, with Tango band in position…
these are installation views from my piece Electric Islands (Archipelago)
Sensors on the windows communicated with the islands – triggering synthesized sounds of running water, various coastal weather conditions (wind, crashing sea that sort of thing), and electronic bird song modeled after the birds on the other side of the window along the River Aura. The windows themselves were also made to sing back to the birds, echo the insects, or reflect raindrop sounds (even thunder) according to weather conditions on the other side of the glass. All of this sound was synthesized using Pure Data software. The islands also occasionally vibrated out tones that excited resonances from inside the room itself, interfering with one another and bringing a sense of the indoors into this outdoors/indoors pseudo-biosphere. It looked nice at night because each island also had a “lighthouse”, but this is best seen in the video, above.
google “enhanced” this one…with “motion” :
“small hills from great mountains descend” – an installation that seemed permanently under construction, which documents its own process of de-construction in terms of its body and hidden sonic accompaniment. A “mess with the sound of its own making”. Sonic history of a rolling stone.
above, and installation view from “Stair”…
…which was a series of movies of a tiny waterfall blown up to gigantic proportion…again with a completely synthesized soundtrack – but one that at first might sound totally natural…a waterfall of light and sound that is first invisible but once passed through can be seen for what it is, moments of vibration. A first blast of light and white noise upon entering the room gives way as the viewer navigates her or himself to be able to see the image. One finds oneself then behind the waterfall/noise curtain, with only low rumbling bass tones flickering in and out of existence (like frames in a projected film).
below, a still and installation view from B Movie (Habitat Observation Platform)
B Movie (Habitat Observation Platform) was a set of short films, shot with the fantasy of being from the perspective of the small swarming creatures that inhabit these plants during the hot summer months. The soundtrack, which one listened too on headphones was a simultaneously soothing and harsh chorus of synthesized bee-sounds which spun around the head of the listener, placing them in the flower. The poem and song accompanying this piece in the film, above, where not part of the installation but included because the poem was created as a call to some friends in Turku to participate in a collaborative piece being created at the same time as this exhibition, and touching on the same themes, to a certain extent…
installing sensors and then pleading with the raspberry pi computer to run my program (admittedly, very badly written)….
studio shot, a tech-selfie just for nostalgia’s sake:
Jorge Boehringer on amerikkalainen säveltäjä, muusikko, taiteilija. Suurien ja pienien pintojen tutkija. Boehringer luo performansseja, äänityksiä, installaatioita, moniulotteisia esineitä ja visuaalisia ilmiöitä. Beohringerin työt tarjoavat erilaisia kokemuksia ja palasia todellisuudesta. “Multiple systems of events, appearing and disappearing, and evolving at their own rates.” on lause jota hän tykkää käyttää toidensä kuvailuun.
Jorge viettää kaksi kuukautta Titanik A.i.R. -residenssissä
Images from drawing show at Bliss Farm Gallery in Prague, Czech Republic
below is a video documenting a collaborative installation realized by myself, painter Jana Babincova, and Michaela Kurikova at INI Gallery, in Prague, Czech Republic:
Here are some recent drawings and other experiments in visual rendering and perception, inquiries should you wish to purchase any of the works may be made directly through this website (see the contact tab)
these are some photos from a drawing + sound performance/installation I made for an exhibition in Galerie AVU, Prague, CZ
sculptural and outdoor interventions:
here are some more pieces you can see, and below some site-specific work that is unnecessary to categorize. I like this stuff. Mounds of hay and dung:
|perceived objects in color and time|
some funny stuff there and below:
older still, from before I left the mental world for the material:
I made “Rawing with the Hound of One’s Own Acheing”, which took on various forms, but my favorite was the live, and later installed version at RPS Gallery in Oakland, California, sometime in 2004.
I made a performance for the opening of the show, in which I made a line drawing on a piece of paper, stereo mic-ed on each side. scratching pencil was amplified. A digital sampling loop took an average of the time it took me to finish one horizontal line and then recorded and looped it, superimposing it on the others, as the drawing did. Somically the layers interacted, interfering with each other and canceling one another out, as well as sometimes strengthening a particular gesture. This happened simultaneously. The in the audio and visual domains, becoming quite intense sonically by the end. At the end the drawing was hung on the wall with the recording, but each new version will be different. I am still making acoustic drawings, paintings, and objects in a similar but changing fashion, you can see photos from a more recent action up above below the drawings…Here are some old photos from the first version at Rock, Paper, Scissors:
friends Will, David, Lyal, Rebakah, James, Jason, Katie, Manlio,Vlad, Eddie,Kristen, Conor, and Eric, some pictured below
one arms delay:
some audio documents of this piece can be found in Che Chen’s magazine O Sirhan O Sirhan #1, I imagine quite out of print, but maybe…
around the same time these installations where completed at the oakland museum: