Temporal Extension of one instantaneous End (extension time optional)

Live music, stage installation and live video

The sonic elements featured in the installation are derived from microphones planted within two analog tape recorders. These devices, invented for the documentation, preservation and conservation of sound, are used to provide the voices that play protagonist to the piece: streamed through a computer, the sounds are subtly manipulated and played back onto surrounding speakers, thus accentuating specific defining characteristics of the devices themselves. The resulting composition circles around the machines, situated at the center of a sculptural formation that consists of four speakers, two tape recorders (Akai 4000 DS and Tesla B 100) and usually a small neon strip lamp on supporting structure. The installation was exhibited in various venues in Budapest (HU), Prague (CZ), Lublin (PL), and Cologne (DE).

audio-visual performance with Martin Blažíček, Labor Gallery, Budapest, 2010.

audio-visual performance, Školska 28 Gallery, Prague, 2010.

open studio event, Karlin Studios, Prague, 2010.

Electronic Gate Cologne - eine Vortex Performance

audio-visual performances at Mediapark, Cologne, 2013.

The performance Vortex was a collaboration between András Blazsek (sound), Martin Blažíček (video), Axel Pulgar (video), and Dirk Rothbrust (percussion, Ensemble Musikfabrik).

It was a dialog between sound, visual elements, light objects, and machines made to preserve sound.

Synaesthesia – Extension of Perception for the Blind, Visually Impaired and Sighted

audio-visual performances at 2B Gallery, Budapest, 2012.

The ambient sound performance of Martin Blažíček and András Blazsek, opening the exhibition, was a metaphorical journey, based on an interpretation of pure intermedia, by now considered classical – an audiovisual noise-composition free of partial tones (i.e., composed of sine tones), in a conduction from the illusory and dazzling, obscure reality of the seers, to the immaterial, refined and alert reality of the hearers. At the concert, the magnetic tape turning silently in the tape-recorder and the sound-painting generated by its movement, as well as the image projected in real-time with the tape-recorder, comprise a nice metaphor for the conceptual interpretation of the medium (Zsolt Sőrés).

2B Gallery, Budapest, 2012.