PAK – ‘Habibi’ C40
Cover artwork realised by Lauren Pakradooni.
Sound mastering and text layout by Eric Frye.
Arabic translation by Hissa Al-Mohannadi.
Professionally duplicated and imprinted cro2 cassettes.
Edition of 100 (silver ink on black shells).
Professionally printed, double-sided, full-color j-card. Lauren Pakradooni’s interdisciplinary work incorporates drawing, printmaking, painting, sculpture, installation, performance and sound. She gravitates towards exploring space, making use of the graphic qualities of print, enveloping character of sound and the literal space of sculpture and performance. Lauren spent 2011 teaching printmaking in Doha, Qatar and in 2013 will be an artist in residence at the Wassaic Project in Wassaic, NY. She received her MFA from the Rhode Island School of Design in 2011. “This tape began as a collection of found tape from the streets of Doha, Qatar. These whole cassette fragments of mostly unlabeled material were edited into handmade loop tapes. The first stage of this project was in an abandoned girls academy in downtown Doha, where the tapes were played through a relic of a PA system. This recording is a compiling of these found sounds with some additions of other cassette loops. It was recorded in Doha, Qatar and briefly in USA.” – Pak
SILK DUNE – ‘Comb’ C30
Cover artwork realised and designed by Eric Frye.
Professionally duplicated and imprinted cro2 cassettes.
Edition of 100 (silver ink on black shells).
Professionally printed, double-sided, black & white j-card. All sound and image by Eric Frye.
Sketches for modular synthesis.
Recorded 12.2011 – 12.2012 in stereo, no overdubs.
“The onto-vectorial matrix of photo-fiction contains (alongside the moment of the ascender or insurrection) a moment of the Trans-, of the transversing of reality or passage via a certain tunnel to the other side, a moment that must be isolated in order to understand the passage of the object (strictly speaking) to transcendence. The Trans- is a specific dimension of transcendence that prolongs the simple vector and makes the object appear. This moment is fundamental in order to give a status to the photographic becoming of ecstasy constitutive to the effective perception of an object. One must make a very particular fate of this ecstatic depth within the phenomenology of the photo, alongside forms and colors, and attribute it to a different destiny than that which it occupies within perception. The perceptual flickering [battement] of before/behind within ecstatic or objectivating experience disappears in the photo, but not completely. It remains virtual as an image of depth or an image of frozen ecstasy, ecstatically-fixed. This flickering of the perception of depth is reduced or condensed rather to the surface itself. The sensation of a relief that the photo still possesses comes from that which, in the completion of the vector, exceeds the vector within a fluttering that is virtualized or crashes into itself. The ecstatic depth or the Trans- becomes a fixed fluttering and is reanimated by the imagination (as soon as it is obviously given an object) and the corresponding photographic capture. Perceptual depth is deprived in-itself in regards to the photo of any depth whatsoever. It is a generic ecstasy of the surface, or an ecstasy-without-ecstasy.” – François Laruelle (Photo-Fiction, a Non-Standard Aesthetics)