For most of us, our first act in life is a speech act. We are born, we inhale, and then some of us sneeze, but most of us scream. For the next few months we make sounds, which we’re repeatedly told are letters. Somehow a song called The Alphabet gets stuck in our head. We can’t stop humming it. Eventually someone hands us a pen.
Viennese poet, programmer, performer, musician, composer, lecturer and researcher Jörg Piringer works operate in the moments human voice, machine language and letter forms meet.
Piringer uses his voice as an interface and as a medium. In his electronic visual sound poetry performance frikativ, Piringer generates visual sound poetry in real-time by speaking and vocalizing into a microphone. Fricatives are audible frictions, consonant sounds produced by forcing breath through a narrow, constricted, or partially obstructed channel. In frikativ, the channel of the vocal tract is appended to that of the microphone, which is further extended by cables to a computer wherein live and pre-recorded voice sounds are modified through signal processors and samplers. Piringer’s custom software then analyzes these sounds to create animated abstract visual text-compositions.
Through a long, ongoing, iterative, and intrinsically performative writing process, Piringer has created a massive custom-written computer program with which he builds his performance works. Similar to the way one game engine can be used to create a wide range of different games, Piringer can now drawn on his own code base to create new behavioural logic sets for each new performance.