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Biocenose explores another scientific form that epitomizes a further dimension of the exhaustive ecosystem, the nomenclature that represents the immense quantity of animal and vegetal species. The first part of Biocenose comprises a notation list that is organized according to the syllable length that coincides with the quality of sounds recorded in the National Park of Penang, while each of the scientific names is arranged on paper on temporal and frequency axes. The semantic representation, or scientific taxonomy, in the action of listing attempt to exhaust the possibility of description and subsequently, re-realise the unattainability of a full account of actualities even with the most meticulous effort; the temporal yet eternal gap between the being and representation and finally the perpetual attempt of human beings or interpretants in closing this fracture in communication. The second part is the verbal interpretation of the score in the act of reading aloud by four different voices. The scientific names are replaced by the vernacular language and are articulated in speech sound focusing on the different subjective rhythms of oneself. The act of reading, in bringing about a sound composition, operates a temporal transfusion between the internal time and the time of sound. In opposition to the relatively passive written notation in the first part, reading as an unavoidably interpretative act brings into the consciousness of the primary limit for a full translation between different mediums.

notation book in accordion folds, 42 x 29,5 cm, 2012

sound composition, transducers on glass window, 2012
voices: Eimer Birkbeck, Jean-Marc Stefani, Vivian Corringham, Cédric Maridet

edition of 1