As a presentation…
 
Materiality of ROR remembers the first inarticulate, mumbling voices, purely organ sounds emerging from within the body. This memory is littered with events over psychosocial conditions in time and space. Its binding are the responses of flesh to the thinking of the machine. Hierarchy of thinking and the machineness of life are the occupation and struggle of ROR’s primary origins.

Language is put to the test with the wonders of sensuality on experimenting with the sounds of everyday banality.  Sound poetry becomes a self reflective advertising brand, ludistic to the extent of being the foundation of expression and, thus, the only genuine freedom. Archaic play of showings and readings addresses the articulate simulee/listener through voicers (throat, microphone, amplifier, speakers). The result of this generativity is rejection and revolt. Contours of the system become distinct and sharp.

Naive limitlessness of language is domineeringly caught in an endless loop. But since ROR emphasises contingency as essential within expression, be it before or now, it is separated from language with sound. Separation is a pressing demand of situation. It is a liminal space, which is contingent and indefinable. It is event and truth at the same time. Declaration for sound opens up the scope of perception. It frees bodily sensuality in thinking of the machine.

In ROR the machine is computer, microphone, bottle, mixer, plastic tube… the body is ears, mouth, eyes, skin… There is a cleavage between body and machine which paradoxically unites them both in the liberation of structural determination. This draws on the relation of changeability/transience, which leads to conflicts, be it personal or social. Disintegration, always actively heard, is inexorably free, if, of course, the subject is willing to explore the unknown.

The society of contentment and consent led ROR and people to absent observers of the world to safety zones of standards, rules, unification. Thus ROR is via reaction a symptom a disturbance. Resources used are commercial music software, ideal for manipulation. It enables control of oneself as well as of others. It resembles educational systems and has its own values. It makes one an obedient, malleable, interested slave. All this is true if one follows the instructions of those trained (good creative persons) or those enclosed (creative persons who want to BE good).

ROR approaches the software in the same way as workers in the time of industrial revolution when they were breaking machines, ludistically. The breaking produces excellent sound/noise. Avantgardism of breaking the mirror into random pieces and situationist gazing at them presents the first wing of freedom within ROR’s expression. In here ROR acts as a child who breaks the toy only to be able to use it later in a different way.

This different way is – in comparison with the child – problematic for ROR, which reflects its sound. Conflicts within ROR resemble conflicts in society. Through sound processing – which is not influenced, it is triggered and flows on its own – something temporary emerges, which the thinking machine considers an error a disturbance or a fall-out, a collapse. Radicality is released and an unrepeatable trace of truth slides through. When there is no collapse the system is renewing and repeating in time passes into sound monotony.

Reaction from outside (discourse) is triggered, with which the subject attempts to articulate goings-on into the sequence of events and eventually recognizes her/himself as limited discontinuous and passes into aloneness. Differentness occurs within her/him as disintegration, which is already her/his own genuine sound.

Codependence of actions within ROR escapes interpretation and this presentation is an attempt of an analysis of the momentary, which tries to fence off the assumptions about what and in what ways ROR is.

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ROR: Zvo?ne kopeli

ROR v zvo?nih kopelih prisluhne prostoru. Zanima ga TO zunaj in ?eli ven s tem kar sli?i nazaj v poslu?an prostor. S tem doda svoji sli?nosti izku?njo tega zunaj in jo soo?i s prisotnostjo drugega prostora, tega v njem, ki je lahko on sam. Kot nestalna kreacija povzro?a spremembe se ?isti skozi njih, razpada na ponovitve in sku?a komunikacijo vzpostaviti z odnosom med robom in mejo, med fiktivnim in realnim, med Izraelom in Libanonom, med krajem in prostorom, med Nadi?o in galerijo ESC. Bistvena pri RORu je ljubezen, edina prava ljubezen, ljubezen do druga?nega; ta ki razume. Zato je prostor v dogodku sre?anje razlik , za?asnih avtonomnih sprememb v dogajanju mi?ljenja s serijalnostjo metod in postopkov, ki hranijo in ohranjajo situacijo v zastali praznitvi Ve?no. To kar ohranja ne spreminja samo akumulira v zasebno ali javno omejitev. Ta sku?a ?e vnaprej izbirati, ta ?e sli?i ?e preden poslu?a ta je vsakdanja umestitev uma v lastni solipsizem, ta je klju?na storitev upanja.

Iz na?tetega se multiplicirajo roji manipulacije mo?i v posameznikovo zavest in jo zasedejo s strahom Tega zunaj. Od Tam se sli?ijo zvoki vseh mogo?ih in nemogo?ih migracij tesnobe. In ker se sli?i ?e preden se poslu?a se ne razume in je strah pred druga?nim, meja Evropske unije .Varnostne omejitve, standardizirajo ?ivljenja v vase zagledane apatije. Neskon?ne ponovitve bri?ejo pomen, odziv serijskih produkcij blaga in mi?ljenja v ?asu kapitala, fragmentirani odnosi, razpr?ena zavest znotraj globalizma vse to in ?e ve? stkano v mre?e objektivne oblike urejenosti socialnega, razkriva prostor pozornemu poslu?alcu. Za tem skafandrom dane ko?e se skriva: jaz sem jaz in je vmesnost opna dogodka, je zvok momenta, ki modulira v sporo?ila znotraj sebe. In kaj lahko taka danost sporo?a navzven, ko akcija prekine kontemplacijo? ROR tega ne ve zato v prostorih sledi zvokom in iz njih ustvarja kopeli nekak?ne jakuzije komunikacije, ki je podobna globokomorskim lignjem, ko se parijo in sovra?ijo.