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Feel Something (2002) 14'56"
When was the last time we felt something real? Was it on top of that mountain, the place where we got above the clouds? I think I felt something there & I’d like to do it again sometime. I’m thinking our life support system is a little off key. I feel we’re driving our machine into a wall that we built with our own hands. We built the machine too: it’s really sturdy, well manufactured, and everybody really, really wants to buy a ticket for a ride, but I don’t quite understand its purpose. Its innards are networked, categorized and reformatted for broadcast and re-experience (or is that experience?) but it’s got no senses really, it just keeps going, and growing. Here’s what I propose: I want to dig in the dry clay dirt and feel my fingers go raw. I want to roll down a grassy hill and stain my body green. I want to throw sand in my face and know the taste of the sea. I want to cry my fucking guts out. Then laugh until I cry again. I want to feel smooth skin, pine needles, asphalt, steel, tree bark, purring fur, electricity, rubber, gravel, styrofoam, a fresh wound in foul, polluted mud. I want to feel my blood rush through my arteries and veins. I want to be crushed & lifted to the sky. I want to feel my heart skip a beat or two. I want to know every crease in your face, fall into your eyes like I do all to often. I want to believe in something beautiful. I want to forget what fear is. I want to send a transmission with so much huge undeniable loveliness that it can’t help but reverberate back at me. And I want you to feel all of these things with me.

Ven Voisey (USA)
is a sound artist and sculptor from Oakland, California. He was educated at San Francisco State University and graduated with a special major in Cultural Arts and Electronic Media, Dec ‘00. He is a producer and a consumer. He believes that taking the time to listen to an environment has the potential to help provide a new perspective of that environment and one’s own place within it. Production of sound is a natural reaction to listening, as part of the communication cycle. He believes that the term “communication” does not imply meaning or context; rather, it is a simple process of give and take. This is where he currently finds himself: creating, recording, manipulating, recomposing, and projecting sounds with the aid of various machinery as an active participant of the process.

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