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In his interview with Saturn Six, Sergey Blagodetelev delves into the intricate mathematical foundations of his installations, clarifying their complexity. He also reflects conceptual dimensions such as time, dramaturgy and interdependence.The artist articulates his vision for live performance and offers insight into own creative philosophy.

What does “Data Synthesizer” mean?

A musical synthesizer has a sound wave as its output. I have data waves that, in addition to multiple uses, can be heard.


What specific mathematical operations or algorithms are used in the software to generate digital waves? How do these mathematical operations contribute to the formation of unique forms of sound and light?

The wave generator is the most important thing: the interface is built around it. The basic mathematical operation is of course the sine (the simplest wave), which has a frequency and amplitude. By adding, multiplying, filtering, and modifying the wave, we obtain a sound rich in algorithms. The data is formed from scratch. Therefore, through the utilization of many parameters, a unique wave is created and infused with significance.


Tell us more about the nature of the recursive algorithms used to create sound and light patterns. How do these recursive algorithms affect the overall aesthetic or experiential quality of the installation?

Recursion is when an algorithm calls itself. Similar to the structure of a tree. In the interface, these are loops when the algorithm is connected to itself. Thanks to this, it is convenient to create harmonics derived from multiples of the fundamental frequency of water and mathematical calculations using interesting proportions: the golden ratio, the root of two, Euler's number, etc. One of the main tasks that was at the forefront of the development is to try to find a unique aesthetics of sound and visuals.


How is the uniqueness of each pulse achieved and what factors contribute to this variability?

Each impulse is like a separate life in a computer micro format. The generation of pulses is controlled by sequencers. Each sequencer contains an interface that forms the basic logic for that sequencer's pulses. This interface may contain logical elements that give each impulse randomness, interdependence, and uniqueness. The basic parameter is time - everything else is based on it.


How is time perceived in your work?

Time is the king and god of the entire system. Like gears in a huge mechanism, algorithms interact with each other to scroll through the data. When sound and light are combined, there is a feeling that time flows nonlinearly.


What light means for you, what qualities does it have if you could see it?

Light is a stream of photons vibrating at a very high frequency. The range we perceive is quite narrow.


Is there any interactivity in the installations where external factors can influence the waves, sound or light generated? How does audience interaction affect the overall experience?

I am a proponent of the idea that any interactivity in a work of art should be meaningful. It is created not for the sake of the wow effect, but for delivering a message. I have done a lot of installations with audience interaction in the past, even a performance. Currently, the installations that I build on IP do not take advantage of the possibility of spectator interaction. I am currently developing a technical basis for installations, which will make it possible to integrate into the environment (integrate temperature, wind, precipitation sensors).


How do these pure vibrations and generated shapes affect the viewer's perception of reality? Did you plan for any specific emotional or psychological reactions in viewers in connection with these installations?

When sound and light are embodiments of the same information essence, the work (installation or performance) is perceived as a single organism, as if possessing living vibrations.


What messages do your works convey?

It is important to take into account the script and dramaturgical aspects. I like to tell stories, short films of 10-30 minutes - sometimes fictional, sometimes personal, built on the performance of audiovisual “actors”.


What is a live performance like for you?

For me, performing is an opportunity to communicate with the audience in real time through the invisible connection that is created in the audio/visual space. Performing as a composer and musician is especially moving because of its intimacy, ephemerality of moments - after all, each performance is individual both in terms of material and how the material is presented, with what frequency accents.


What do your live performances consist of?

A few years ago, these were mainly choreographic performances. They consisted of global audio/visual shorthand, choreography, some kind of script, and a director's part. Now for me it’s mostly code - sound/visual, narrative script, game.


How do you decide on the audio and visual elements for a particular performance, and what role does experimentation play in this decision-making process?

Initially, fragments of scenes emerge. As if I’m living through individual moments of the performance, so that I can capture it first on paper and then translate into code. As these fragments gradually intertwine, they evolve, acquiring deeper meanings and sharper contours. The quest for established forms often leads to the exploration of unprecedented solutions, demanding the invention of something truly original. Often, with successful experimental findings, when combined with working solutions, unique and beautiful sounds and light embodiments are obtained.


How do you reflect on and evaluate your live performances after they are concluded, and how does this feedback informs your future creative processes and developments?

After each performance, there dawns a realization that such moments will never happen again. This deepens one’s appreciation for time, moments of intangible magical connection.

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