Januš Aleš Luznar reveals Ictus Cordis, his latest audio-visual laboratory; with the main subject, his heart. He uses an analog circuit preamplifier, with an electronically adapted stethoscope and manipulates with the sound of the heart in real time with the use of sound processing modules and effects. He also interprets sound into a digital form splitting the sound spectrum and velocity and interprets it into a series of abstract visualizations. All the performance modulations are in real time. The artist thus creates an electro-acoustic audio-visual appearance exploring the relationships of the performer, simultaneously being the main source of the performance, the main instrument.
The project explores the interaction between the physical and mental organisms. Although they speak different languages, which are difficult to translate, the artist searches for their coincidental parallels through which they communicate. The heart is an organ that acts on its own, and to a large extent it can only be influenced indirectly.
Januš Aleš Luznar explores Biofeedback or a mutual heart reaction to the stream of a sound composition. Biofeedback or a biological feedback loop is a relaxation method using the instrument of the same name. It is connected to the individual’s skin via electrodes and emits light or sound signals of certain frequencies that channel its arousal or relaxation. The individual seamlessly installs and tries to relax, while constantly receiving feedback on his condition. When an individual is using these methods, relaxation is not only reached but even deepened. For the performance, the artist lets the audience in his consecrated space of artistic intimacy and urges visitors to let go by the sounds and visualizations of his heart.
In the forefront of the research, the organic body is also something unpredictable and potentially dangerous. What could be the consequence of an act when something so self-evident, inaudible and intimate as the heartbeat, is exposed not only to an audible sound, but also to manipulation? How do we react to the intrusion of the foreign and unnatural, as it is a sound that we hear or feel only in cases of increased physical activity, adrenaline and exceptional psychological conditions, such as anxiety?
So, what will be the autonomous response of an artist, who perceives sound and visualization as the subject of creative pleasure in the first place and consciously goes into the core and the abyss of the unconsciousness? What will be the reaction of his heart when he enters the circle of his audience and widely opens his door to his intimacy?