In cities with a lack of parking, almost everyone has a bicycle. It’s a known fact that bicycles are the green answer to transportation as well as the healthiest form of city commuting. Bicycle riding in urban areas may be considered an innocent, yet subversive act at the same time. Critical thinking along with a passion for music and bicycles is what generated the idea of linking both worlds.
Daniel Davidovsky converts his bicycle into a musical instrument. By attaching a contact microphone to the bike’s frame and applying various physical gestures and techniques, it is possible to amplify the sounds produced by the different parts of the bicycle.
In Energy Hunters the sound of the drums, the only classical instrument used by the musicians, is more of a symbol than of a tool. If there is a sound coming out of them, it’s the lyrical sound of cymbals. The visually sublime film with no clear plot keeps the viewer with a sense of uncertainty and anxiety. The specific atmosphere of sublimity seems to lead to the climax, unleashing energy through layers of untold events, electrifying the viewer to even a greater extent.
As abstract technology, and its physical presence in machines and devices, becomes increasingly more complex and sophisticated, it becomes progressively more incomprehensible to us. Technology is what we use to touch the world and move in it – what we use to see, hear, and feel. However, the more accessible and influential technology becomes, the more hidden from our eyes its operating principles become. In the past we were able to understand the operating principles of machines and devices, but if we were to open up a contemporary technological device and examine its innards, it is reasonable to assume that we would not be able to identify the parts or know their function.
ערפדים הם במשפט אחד: אנשים שזקוקים לאנרגיה של אנשים אחרים כדי לחיות. אין מישהו שלא מכיר אישית לפחות חמישה כאלה מסביבתו הקרובה עד קרובה מאוד, אנחנו מוקפים בהם. אבל מכיוון שערפדים הם שקופים, הם מתמלאים בסביבה שלהם, הם נטמעים בכל קהל, וקשה מאוד לזהות אותם. אפשר אפילו להרחיק לכת ולאמר שהם בעצם המכנה המשותף של התרבות שלנו.
I shiver in the cold, and tremble from fever.
I tremble from joy, anger, sorrow, despair, excitement, jealousy, tension, and shaking with excitement.
The earth tremble, and it affects to small things as well as in large scale. Sometimes the ground are torn in an instant.
Sometimes the earth is raised to wavy, and the ground is separated when I realize. Also an invisible small distortion occurs .
However such a slight vibration affects something and is able to rise things, but it is possible to disrupt everything eventually.
Where this quake comes from.
Is it creeping up from the bottom of the earth?
Or does the cells of the human body shout something?
In any case, the moment it occurs, it can not be predicted to anyone who encounters it. However, people live life by experiencing each days (quakes.)
I can never predict what affect your mind or how you tremble by this performance.
This looks even hated, but also to love.
The “HIBI”(crack) that is engraved in your body through experiencing this performance might affect your life even in small scale.
We can never know if it is for the better or not . Anyhow we are going to live with such a “HIBI”.
Ophir Ilzetzki goes into a detailed cultural analysis of Akeda (sacrifice), the highly political oratorio written between 1981 and 1982 and only premiered last year (!), portraying a narrative of the Israeli history by Israel’s foremost composer, Arie Shpira.