Landalove, Landalive

The immersive and spatial sound art film tells the adventures of a once highly developed ship’s crew from a distant galaxy in a poetic and musical way. The film begins with the ship’s sinking into the seas of lost hearts and the ensuing search for the memories of its own identity and past. The journey leads through desert, water, enchanted forests, artificially intelligent networks to the stars and back to Earth

The three-dimensionally spatialized, musical soundscapes and pieces of music consist of poetry and vocals, sound design, field recordings, trumpet, piano, guitar, as well as the synthesized voice of the artist, who speaks the character “Sir Neuron1068”.

The film takes a subtle, yet strongly critical stance on the wishes and desires that society has for the development of artificially intelligent networks and machines. Who thinks for whom? Who serves whom?

wenn meine augen

wie rosen sehen

und ich den wind

durch die wälder

fliegen höre

der mond sich dann

im kreise dreht

und die wüste

auch noch

ihre sandkörner zählt

dann gähnt das chaos

mit sattlicher leere

und die nacht umhüllt uns

wie tanzende meere

so schwimmen

aus deinen augen

delphingesänge

in diese welt

umgeben von

regenbogensphären

wie es mir

so sehr
gefällt

inspirations for the project

The script was researched and written between 2020 – 2022, when the artist – a long-time and keen meditator – intensively explored the themes of the so often invisible yet human presence in the dimensions of artificial neural networks (ANNs, DNNs, etc.) and digital AI training hubs.

The collection and analysis of data (images, videos, voices, conversations, human emotions, habits, etc.) are an equally illusionary field and virtual clouded space that feed AI systems. These, when perfected, then feed humans back again. The high degree of abstraction and immateriality that the accumulation of virtual realities bring to society are highly reminiscent of the realms of dreams, wishes, tales and surrealities that have always accompanied and influenced our human belief systems.

Many yogis, Kabbalists, prophets, shamans and Saints have shown us, on so many levels, that our entire world-reality is an illusion and dream land. The experience of a body is not the true, or rather, not the entire “self”. The illusion and bounding to maya is only broken through belief, and foremost experience of God (–please mind the definition), resp. divine intelligence or higher consciousness. Thus the “God-ing” process can be found within every human soul.

Ergo this is a sensational moment in history for our generations to experience: on the one hand, more and more people are finding an awareness in which tthe mind rules over matter, and that the world itself is is shining through as a dream of projections and illusions (Sanskrit: maya).

The entry to a moment of truth and infinity has begun.

On the other hand, more and more virtual-digital worlds and realities are emerging at the same time. Virtual realities – whether of digital or spiritual origin – determine sooner or later the physical outbound of our world of matter.

The juxtaposition of these two world was decisive for the script of the film production. It is the tension we all do yoga with every day, may we master it, the best way we can, with our loving hearts wide open. ❤️

Merkaba Installation Katja Anina Brosius

spatial sound art film: a 3D soundtrack production

In 2020 the first scripts for text and music was written, in which the story of the artificial neuron “Sir Neuron 1068” was created. In 2021, the collaboration with the Berlin-based AI agency Birds on Mars followed to connect the artist’s voice with the krach.ai app.

At the same time, the collaboration with mathematician Dr. Felipe Orduña-Bustamante of the ICAT facility of Mexico City university was established to calculate the reverberation (echo characteristic) of the 1068th dimension of the DNN.

2021/22 the music was produced and mastered for ambisonics sound currents.

In 2023, the final touches were made to the voices and the visual layer – consisting of prism videos and digital production – was created.