Abstract
At the end of last December, Staš Vrenko, Slovenian artist and explorer of sound matter, displayed a system of unique sound machines entitled Loops in Transmission that could be seen, heard and used at Osmo/za. We hear the whirring of machines produced by electromathematical processes. But Vrenko is not interested in what we hear but in what sonicity is produced by the media machines that we handle every day. Half-way between sonic art and DIY engineering, Vrenko’s piece uses the support of media and archaeological theory to open the exploration of events in the media-technological time and their implicitly sonic nature. By doing so, it also explores the sound ontology of media environment. These are also the emphases tackled in this review.
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