{"id":3663,"date":"2024-10-10T12:00:43","date_gmt":"2024-10-10T10:00:43","guid":{"rendered":"https:\/\/krystofbruha.cz\/?p=3663"},"modified":"2024-10-28T17:27:05","modified_gmt":"2024-10-28T16:27:05","slug":"audire-fluctus-mark-2","status":"publish","type":"post","link":"https:\/\/krystofbruha.cz\/en\/audire-fluctus-mark-2\/","title":{"rendered":"Audire Fluctus"},"content":{"rendered":"

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Audire Fluctus<\/span><\/h1>\n

Signal Festival 2024<\/a>\/ <\/strong>V\u00e1clav Havel Square \/ <\/strong>Prague \/ Czech Republic<\/strong>Curator \/ <\/span>Pavel Mrkus<\/span><\/a>Technique<\/span> \/ Spektraflux<\/a> \/ EN AW-6061 T6 \/ PMMA \/ \u010derpadlo \/ mikrokontroler \/ 5500x7000mmFoto \/ Signal Festival<\/strong><\/a>—Projekt vznikl ve spolupr\u00e1ci s prototypovou d\u00edlnou Josefa Pr\u016f\u0161i –  <\/strong>PrusaLab<\/strong><\/a>Project leader \/ Leo\u0161 Hort<\/strong>Project electronics \/ Aleksandar Risti\u0107<\/span><\/strong>Project mechanics \/ \u0160imon Stupka<\/span><\/strong>—<\/span>Thanks to all others who were involved in the creation of the project and made it possible<\/span><\/strong>PrusaLab<\/span><\/strong><\/a> \/ <\/span><\/strong>Josef Pr\u016f\u0161a, Ond\u0159ej Ka\u0161p\u00e1rek, Tereza Vanikova, Stanislav Wasserbauer, V\u00edt Poula, Pavel Kord\u00edk, Petr Bedn\u00e1\u0159, <\/span><\/strong>Maty\u00e1\u0161 Kuruc, Ji\u0159\u00ed Tyl<\/strong><\/span><\/span>Signal Festival<\/strong><\/span><\/span><\/a> \/ <\/strong><\/span><\/span>Martin Po\u0161ta, Daniel Burda, Al\u017eb\u011bta Kraj\u010d\u00edkov\u00e1, Tom\u00e1\u0161 Vondr\u00e1\u010dek, Stefan Motika, Marek Platil, Romana Stachovi\u010dov\u00e1, \u0160imon Klimt, Daniela \u0160r\u00e1mkov\u00e1<\/span><\/strong><\/p>\n

Audire Fluctus is a transmedial sculpture at the intersection of a light object and an interactive data-totem. Its essence lies in the connection between the physical world and the invisible electromagnetic fields that surround and continuously affect us. The work monitors the technological activity of its environment and visualizes electromagnetic radiation generated by electrical grids, communication devices, and systems operating on electrical current. Electromagnetic fields, which we usually cannot perceive directly, are translated into light and color patterns through Audire Fluctus. The sculpture thus raises the question of how we perceive and interpret a reality that is partially invisible yet profoundly present.<\/span><\/p>\n

The key element of the work is a medium called Spektraflux<\/a>, a liquid with an anisotropic structure that can change the refractive index of light depending on electromagnetic activity. Its behavior produces unique color textures that reflect the intensity and dynamics of invisible fields, shifting to black and white marble patterns when at rest and changing to shades of the rainbow spectrum when mechanically moved. This shifting visual effect highlights the nature of constant movement and change inherent in both the electromagnetic waves themselves and the technological infrastructure that generates them.<\/span><\/span><\/p>\n

The work functions not only as a visual object but as an active element that adapts to its surroundings. Situated in the piazzetta of the National Theatre, it responds to the presence of numerous electromagnetic devices in the area, becoming a sensor that makes visible the presence of invisible forces. However, this phenomenon is not confined to the physical world alone \u2013 it manifests the continuous exchange of data, signals, and energy that defines our environment.<\/span><\/span><\/p>\n

Here, the concept of the piece intertwines with the philosophy of Karen Michelle Barad, particularly her theory of agential realism, where objects, phenomena, and observers are not separate but co-create each other within a continuous process of interaction. In the context of Audire Fluctus, it is not merely a depiction of invisible technology but an encounter in which the sculpture, the viewer, and the electromagnetic field enter into a dynamic process of mutual influence. Perception here is not confined to passive observation but becomes an active co-creator of the phenomenon \u2013 every step the viewer takes, every shift in the electromagnetic field is a co-creative act, in which reality is continually reshaped.<\/span><\/span><\/p>\n

Thus, Audire Fluctus does not merely reveal a hidden layer of our technological environment but redefines the very concept of interaction between the world, the viewer, and the object into a dynamic act where the boundary between subject and object is not pre-determined but is continuously born and dissolved depending on the act of observation and participation.<\/span><\/p>\n

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Sp\u200b<\/span>\u200b<\/span>ektraflux<\/a> is an optically active liquid that changes its colour structure depending on light conditions and movement. At rest, it produces a black and white marble pattern, while in motion it shifts between shades of the rainbow spectrum. This effect is due to changes in refractive index and particle orientation that affect the path of light.<\/p>\n

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Mechanical motion changes the orientation of the particles and thus their refractive properties, leading to changes in colour perception. The high viscosity of the liquid stabilizes the optical patterns and allows a smooth transition between colors during motion.<\/p>\n

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