6-channel sound-installation by 
Artificial Memory Trace 
[Slavek Kwi] 

CD contains:

#1] stereo_mix [only channel 1 + 2]

#2] ambient recording within space from installation units [all 6_channels]

-------- recorded_direct_to_mic senheiser mkII and DAT )))

Introduction :
December 2000 - January 2001 I was traveling in eastern Africa, recording various natural environments, e.g. rainforests. 
This caused me to re-question the sound environment we are living in. We are living in domestic environments surrounded perpetually 
by sounds generated and introduced by technology, as electric circuit which produces non-stop low frequency on the edge of audibility, 
but still omnipresent and having effect on us. There are many frequential layers produced by electric circuits (e.g. refrigerators, 
TV screens & computers, amplifiers, light-bulbs etc.) While listening to rain-forest soundscapes - particularly dawn and dusk, 
when activity seems the most rich and ever-changing - many sounds reminded me of electric tensions (sounds of insects - cicads,          
very loud and intensively monotone, bizarre birds sounding like high pitched synthetic-line "falling" down in frequency etc.) 
Simultaneously I had recorded also in Arthouse building (multimedia centre in Dublin), focussed on sounds produced by machines 
(e.g. ventilations, elevators, inside computer training rooms, cafe and another working spaces) and combined these sounds 
with rain-forest soundscapes. 
An exploration of frequential territories of animal species in natural sound-environment (recordings from rainforests in Kenya & Tanzania) 
in comparision with human domestic environments - focused on electric installations with omnipresent and static character, sounds which perpetually          
surround us in daily life, particularly in our living spaces. Creating associative sound-environments in combination with original sounds          
and transformations of these sounds by computer. Studying natural sound-environments and artificial sound-pollution; researching changes in nature 
caused by sound pollution, and its impact on human beings, including psychological and physical aspects.

Form :
Sound-installation (35 min composition) is performed from 6-track digital tape (played in loop, repeat mode continuously) and diffused from 3 pairs          
of different devices, e.g. using plexi-parabolas with tweeters placed inside, umbrellas etc.
In introductory separated room is placed cd player with headphones, on inserted cd are recorded original sounds used in creating of ST pt2. 
Each sample is 30 sec long. See list: :::
Marks of Omission …	
Three installations about communication and territory in a digital age.
Arthouse Multimedia Centre for the Arts
13 September - 5 October 2001
Marks of Omission curated by Arthouse's Artistic Director Sarah Pierce, brings to Ireland for the first time three installations that use sound and the internet by artists Brian Conley (United States), Slavek Kwi (Czech Republic), and Conor McGarrigle (Republic of Ireland).
The exhibition will open with a reception Thursday, 13 September 6.00 p.m. - 8.00 p.m. 

SLAVEK KWI is an artist from the Czech Republic, currently living in Dublin and participating in Arthouse's Residency Programme. 
After studying music in Belgium, Kwi became an electro-acoustic artist in the late eighties and is now best known for his extensive 
discography under the identity he founded in 1990, Artificial Memory Trace (AMT). Spectral Territories Pt 2 presents a sound 
installation in Arthouse's basement space that uses both natural and man-made frequencies culled from recordings made by the artist 
over the last year. Kwi travelled to the rainforests of Kenya and Tanzania where he recorded birds, insects and the natural 'din' 
of the forests. After his return to Dublin, he made several recordings in Arthouse at night, where he picked up the frequencies made 
by electric circuits throughout the building. Spectral Territories Pt 2 compares the two studies in an installation that uses dome 
and umbrella speakers to direct the composition in complex patterns of sound. Visitors hear isolated frequencies or a mixture of sounds 
depending on the precise spot they are standing. The installation includes a study room where visitors may listen to source recordings 
by the artist. This November Kwi will begin a residency at the Royal Hospital, 
Kilmainham, Dublin through IMMA's Artist Work Programme.
 skwi in kenya,  new year 2000/2001