I went back in time to the era of analog technologies to scavenge and resurrect what’s been left behind. They call it “Media Archaeology”. These tools a different quality compared to their digital successors. In Celestial Harmonies I use a Vectrex game console from the 80s, I chose it for its beautiful blue beam quality, I hacked it so I can draw shapes with sound from a modular synthesizer. I tell a story about space and harmonic ratios. I move light beams with sound, all analog, all live, all perfectly synchronised in a simple but powerful syneasthetic discourse.
Alberto Novello a.k.a. JesterN’s practice repurposes found or decontextualised analogue devices to investigate the connections between light and sound in the form of contemplative installations and performances. He repairs and modifies tools from our analogue past: oscilloscopes, early game consoles, analogue video mixers, and lasers. He is attracted to their intrinsic limitations and strong ‘personalities’: fluid beam movement, vivid colors, infinite resolution, absence of frame rate, and line aesthetics. By using these forgotten devices, he exposes the public to the aesthetic differences between the ubiquitous digital projections and the vibrance of analogue beams, engaging them to reflect on the sociopolitical impact of technology in a retrospective on technologisation: what ‘old’ means, and what value the ‘new’ really adds.
I went back in time to the era of analog technologies to scavenge and resurrect what’s been left behind. They call it “Media Archaeology”. These tools a different quality compared to their digital successors. In Celestial Harmonies I use a Vectrex game console from the 80s, I chose it for its beautiful blue beam quality, I hacked it so I can draw shapes with sound from a modular synthesizer. I tell a story about space and harmonic ratios. I move light beams with sound, all analog, all live, all perfectly synchronised in a simple but powerful syneasthetic discourse.
Alberto Novello a.k.a. JesterN’s practice repurposes found or decontextualised analogue devices to investigate the connections between light and sound in the form of contemplative installations and performances. He repairs and modifies tools from our analogue past: oscilloscopes, early game consoles, analogue video mixers, and lasers. He is attracted to their intrinsic limitations and strong ‘personalities’: fluid beam movement, vivid colors, infinite resolution, absence of frame rate, and line aesthetics. By using these forgotten devices, he exposes the public to the aesthetic differences between the ubiquitous digital projections and the vibrance of analogue beams, engaging them to reflect on the sociopolitical impact of technology in a retrospective on technologisation: what ‘old’ means, and what value the ‘new’ really adds.
