Noise Flowers
Noise Flowers (Sphere22)
Audio-visual artworks, 2024.
Noise Flowers1, Audio-visual artwork, 14:07 minutes
Noise Flowers2, Audio-visual artwork, 28:12 minutes
3D computer graphics and digital sculpting, AI Image generation, post-processing, sound: Tanja Vujinovic
Production: Tanja Vujinovic/Ultramono, 2024
Consulting
iotrip, Software Engineer
Mika Pi, Software Engineer
RonBreIan, Software and Audio Engineer
Friends from VRChat
Noise Flowers (Sphere22), as a continuation of the AvantGarden project ventures into the enchanting realm of a nature at the nano level, inspired by the intricacies of the natural world, bringing to life the captivating dance between insects and plants, blurring the boundaries of form and function at the microscopic scale.
The heart of my inspiration lies in the exquisite mimicry found in nature, the phenomenon of insects that resemble plants, plants that masquerade as insects, and the surreal convergence of both, creating an ecosystem where the lines between species become a fluid, ever-changing dance of disguise and adaptation.
Noise Flowers (Sphere22) is not just a celebration of mimicry; it's a visual exploration fueled by the allure of rare and exotic plants, fruits, and animals, the vibrant palette of their colors, the poetry of their behavior, and the symphony of their intricate structures.
Noise Flowers (Sphere22) is a series of "dynamic" images I have been working on since 2017, as the most elusive, and conceptually intangible series, full of intricate details, formal explorations into depths of digital patterns of shifting spectral vibrations, prismatic interplays, and holographic overlays of surfaces that are comforting and reassuring. The direct sensorial impact of these vibrating surfaces has been very important as it translates as a bridge that connects subject and object, as an invitation to expand beyond oneself. Entering the eternal flows or sensorial information we are all surrounded by, emanating from surfaces of objects, with the help of these powerful portals, we gain the right to enter the void, full of the powerful force of creative noise. These surfaces seem to capture specific locations on some imaginary yet concrete and real-time grids and hold them in their bodily containers for us to enjoy and feel comforted by. The subject of noise has been intriguing to me for decades, as it holds so many important signifiers and it can be many things in a variety of contexts. In the case of Noise Flowers, it seems that I keep gathering thoughts and impressions from many corners of my work, that come together to form this magma-like substance into what other digital works melt into, and new forms emerge out of the digital brewery of my own desktop and ongoing mindscapes. As the noise of cosmic hum arrives from all directions, as the interstellar dust, particles glistening or shooting stars so is here everything in a constant state of intense yet very calming flux, everything flows according to the rules unknown to us and things travel and fall into place, to yet again, sometimes unexpectedly in a split second continue on their paths of constant movement, grown expansion and rebirth. As a calming sound that assures us that the world works with our own internal rhythms and the rhythms of systems unknown to us, noise is here to comfort, keep us company, and make a cacoon around us. When flowers of noise form for a short while and are visible to us, we get to enjoy what seems to be a perfect order of inner elements of puzzling yet familiar constellations. As everywhere around us millions and millions of constellations of planetary, human cells, and animal systems are regulating themselves and keep on going, so are our own nano constellations, which keep on branching into the network that is unique only to our souls that fuses us into the waves of noise of the world, of our “noosphere”.
NOISE FLOWERS 1, Audio-visual artwork, VIDEO STILLS, 2024.
NOISE FLOWERS 2, Audio-visual artwork, VIDEO STILLS, 2024.
Alignment Diaries
Alignment Diaries
Digital images, audio-visual artworks, four soundscapes, 2024.
Alignment Diaries, audio-visual artwork, 5:09 min.(sound: Air)
Alignment Diaries, audio-visual artwork, 0:59 min.(sound: Earth)
Alignment Diaries, audio-visual artwork, 0:58 min.(sound: Fire)
Fragments 1-26 (Alignment Diaries), audio-visual artworks, 0:39 min. each (sound: Water)
3D computer graphics, digital sculpting, generative AI, sound: Tanja Vujinovic
Production: Tanja Vujinovic / Ultramono, 2024.
Consulting
RonBreIan, Software and Audio Engineer
As a continuation of the AvantGarden project, Alignment Diaries delves deeper into the lore of this fractal world, composed of ever-changing smaller worlds, soundscapes and digital objects, guided by the mysterious characters of gardeners and florists. Proto-machine guardians emerging from stardust formations have their own language.
Alignment Diaries blends organic and non-organic, visible and invisible, creating a space where all forms of existence are celebrated. It’s about being in the moment, connected to everything around us, fostering a sense of unity and peace.
Alignment Diaries continues an ongoing exploration of our relationship with technological otherness, and how technology shapes and interacts with our lives, all set in an abstract garden imagined as an alternative dwelling, a space for meditation and rethinking the world. Ultramono’s symbol—two alien heads tied together—represents the connection between humans and the non-human. This non-human element can be any machine, phenomenon, mythological representation, or even our own avatars. In AvantGarden, avatars are more than digital representations; they are our alternative identities from parallel realities.
This fractal world of alternative realities is where multiplicities overlap, and in-between spaces exist. This is not an escape from reality but a proposition for temporary dwellings within uplifting utopian spheres. These spaces are designed to foster inner peace through self-realization, immersion, and connection with others, objects, and avatars. The experience is enhanced by meditative, mantra-like sounds of underground techno music. The repetitive sound samples significantly improve our state of mind, providing a transformative experience.
Alignment Diaries consists of digital images, audio-visual works, and four soundscapes depicting the essential elements of AvantGarden: Air, Earth, Fire, and Water.
Alignment Diaries, Audio-visual artwork, VIDEO STILLS, 2024.
Spheres 18-21
Spheres 18-21 (AvantGarden)
Spheres 18-21 (AvantGarden), virtual reality art installations published on VRChat, digital sculptures, collaborative events, 2023.
World building, digital sculptures, sound: Tanja Vujinovic
Production: Tanja Vujinovic / Ultramono, 2023.
Consulting
RoneBreIan, Software and Sound Engineer
Mika Pi, Software Engineer
Friends from VRChat
Spheres 18-21 is a fractal new media art installation with four iterations, a sculptural work that contains other Proto-Machine sculptures, and a space for hosting performances and events.
As a multidimensional platform, it can open its virtual doors to visitors from all over the world to either relax and meditate, explore the world, and enjoy live acts and performances that are occasionally hosted within the installation itself.
Proto-machine sculptures are installed throughout the place, taking care of the environment. The unusual structure of the place allows us to explore the AvantGarden at its core, jump and fall, walk on planes of unusual shapes, and fall into the depths of endless space to eventually re-spawn and be granted a new beginning each time.
Electronic dance clubs are mythical places. Ever since the first acid house (proto-techno) clubs, ecstasy through flashing lights and intense dancing symbolized by a yellow smiley face and extraterrestrial imagery unleashed the new era of technologically changed music. The new era of sampling and intense playfulness with senses and embodiment and phenomenological exploration of space together with others has begun.
Underground-oriented individuals had their lifeline in music, specialized radio shows, and clubbing during the 80s and 90s. Dominant popular culture on all major television and radio networks only rarely would allow any deviation in music taste, so getting the real information and tunes was not easy before the existence of the Internet. Necessary escapism, fog, flashing lights, intense beats, and occasional abstracted vocals that sounded machine-like, sweating bodies moving together are all typical of rave parties in real life that exploded since the end of the 1980s, celebrating the new sounds of electronic dance music. Ever since the invention of first sound synthesizers, artists were discovering new sounds that fostered new genres in electronic music.
Living in the moment, taking a stand against norms, daring to be different, demanding the right to assembly in unusual places ranging from warehouses, abandoned factories, to open fields in rural countryside with all of the countercultural movements of the past hovering in the background like Hippie and New Age movement, to Punk, but being transmuted and amplified to include latest technological adjustments have been multimedia from the very start trying to include luna park type of attractions, emerging star DJs, light works and commotion and mingling people in temporary fortified playgrounds, in a collective, social assembly. Contrary to being associated with drug usage in its early days, rave culture was always about promoting “getting high” through solely listening to music and dancing with fellow music audiophiles.
Although techno music might appear to be mechanical and automatized compared to some genres of previous eras, it surprisingly introduced warmth, feeling of connectedness, and individuality in dancing styles and dressing. Everybody dances as they feel appropriate and dress eclectically from careless clothes to over-the-top costumes and the development of clubbing personas through masks and attitude.
Working under the motto of the rave movement, P.L.U.R. (Peace, Love, Unity, Respect), massive carnivalesque street parties made the underground scene visible to everyone and further spread their subtle political messages or resistance to intolerance and inequality. Love parade, for example, was initially intended to be a political protest fighting for international understanding and peace through music and dancing. As some of the posters from these events would say “Techno means love, peace, tolerance”, or “One world, one love parade” these gatherings were all about the peaceful celebration of the love of music, dancing, and international connectivity that brings together groups previously separated by gender, sexual orientation, race or nationality.
After initial years of revolutionary feeling, slow commercialization of these events undoubtedly made them less edgy and spontaneous, but such parties were the introduction of communal gatherings where everything was allowed at least for a short while to appear in the public eye. People were overdressed, unusual, colorful or monochrome, provocative, and playful.
Rave culture's ethos of P.L.U.R. that emerged along with the flourishing techno with all of its subgenres reflected the liberating primary nature of human creativity made out of close contact with the technology of that time. The culture that emerged alongside this phenomenon was all about overcoming normalized, standardized previous canons of art and music, with smaller and smaller samples and loops, immersive soundscapes, repetitive, trance-like states of mind to be filled with emotions of intense love, belonging, and sharing. Going beyond just listening or observing the environment, to rave means to feel the music, let it into your body and then express yourself through dancing where it all comes together - the light show, the DJ, tracks being played and remixed, the dancers, in rave that celebrate life here and now, and joy of sharing the experience with others.
It is difficult pinpointing what are the real roots of electronic experimental rave culture and techno music, but one thing is sure and a lot of people agree with the fact that German electronic music band Kraftwerk was pivotal in showing the future that is about to unravel the decades to come. By splicing, cutting, resampling, and creating wonderful poetics of humans and machines, their tunes are evergreen, sounding even nowadays as fresh and otherworldly as they were in the eighties of the previous century. Sampled words of “Musique Non Stop'' from their 1986 album Electric Cafe floating over repetitive sounds of devices, electric vehicles, and industrial machines branches out into the “noospheric” poetry emerging right from the heart of symbiotic technological nature we have created and that's just about to start to grow exponentially in the upcoming decades.
Goa trance parties from the second part of the eighties had their roots in the hippy movement of the sixties with new acid, electronic, and psychedelic mind expansion meetups organized around new electronic dance music raves, and on the other hand, acid sound and jungle coming from UK influences, house music originating from Detroit, and pioneers of electronica like Kraftwerk and Tangerine Dream. As the owner of the legendary Hacienda, the “cathedral of the house music in Britain'' would say, “everybody…would be moving to this beat”, as acid house music effects were something very unique and never seen before. This made the foundation for many subgenres that sprang from acid house and techno music. People coming from tropes of popular disco devotees, reggae, or soul music fans, or different football clubs' fans were all vibing together in a transcendental experience of rave. From subtle precision of minimal techno or soul-influenced house to rebel culture of fast energetic breakcore, gabber, or drum and bass, rave gatherings created the revolution of the mind and comradery of communal gatherings.
Nowadays there are so many subgenres of electronic dance music that is increasingly difficult to list them all - from gabber to hardcore, to liquid drum and bass, breakcore to dubstep or tech house, new cross breads are emerging as we speak through the experimentation of new generations of artists. The spirit of sharing and comradery during the 1990s also appears in early Internet communities, hackerspaces, and later maker culture, all grouped around new digital tools, programming, and creating open-source knowledge and experiences. Electronic dance music of rave parties also became a synonym of counter-culture in many regions of the world with political turmoils like Israel and ex-Yugoslavia. Introducing what Slavoj Žižek would call necessary utopias, raves represent the reinforcement of reality within utopia or the reality upgrade through technology that also reaches back to our primal roots.
Moving away from polarizing daily politics by being all-inclusive and non-judgemental, raves teach us tolerance, rethinking reality, and re-inscribing new potential models of structuring society in coexistence, and liberation.
Affecting our brains and bodies, repetitive rhythms, kick drums, voice loops, and effects take us on a ride. As pioneers of the techno movement were themselves explaining, these types of electronic tracks were influencing brain waves to promote states of mind mostly associated with dreams. Trance-like ecstatic celebration of the mind is the reason why very mechanical and aggressive music might have a soothing effect on human brains. With the growth of information technologies and new communication tools, we have gained access to higher qualities of electronic dance music made in conjunction with these new tools.
The beat of the drum, like in some primordial trance state, connects us and creates the pulsating space with repetitive trance-inducing and mind-lifting experience of the self in a multitude of vibration flows. Moments, one by one, crystalize in time, so we do remember these time units as significant on the time-space grids or our lives.
AvantGarden rave spaces are virtual reality art installations and organisms made of Proto-machine sculptures, digital artifacts and human visitors. They are living rave ecosystems, biomes made of live music, avatars and moving bodies.
Sphere 18, virtual reality art installation, 2024.
Sphere 19, virtual reality art installation, 2024.
Sphere 20, virtual reality art installation, 2024.
Sphere 21, virtual reality art installation, 2024.
Spheres 18-21 Project References
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