Guy Fleisher
| Guy Fleisher | |
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| Biography | Guy Fleisher (*1986) is a multi-disciplinary sound artist born in Israel and based in Porto. He started playing drums at the age of nine, and at 18 he was already performing with local rock bands. Since then, he has been playing with various mediums of composition. He completed a bachelor’s degree in Jazz/Music Performance at the Jerusalem Academy of Music and Dance and a master’s degree in Sonic Arts at Goldsmiths, University of London. He has focused on interactive and generative processes, along with multidisciplinary perspectives for audio-visual arts. Fleisher is passionate about the sounding of the environment and the interaction between light and sound. His work includes music and sound design for video and dance, as well as interactive sound-art and installations. His current interest and research revolves around spatialisation of acousmatic music and its extension to the field of media art, mainly focused on environmental ecology and acoustics. ABOUT Guy Fleisher: «Jaffa Daze» A conversation with the Moazin of the Givat Aliya Mosque, Ramadan 2020. The conversation formed between the casual listener and the muslim call-to-prayer, is well known in the daily Israeli reality. During the month of Ramadan, the daily prayer is different to the rest of the year, with added sections meant to amplify the feeling of religious conviction. During the month of Ramadan, in the muslim society, there is much more rigor on good deeds. The followers and believers read more in the holy Quran in prayer, emphasizing the importance of morals between people. Throughout the month, there is special attention to people with mental illnesses: in the past well-voiced anchor men were invited to read for the aforementioned phrases from the book. Until today, followers pray in certain mosques at dawn-break, to relieve the insomnia of believers, in an attempt to lower their suffering, as well as adding to their spiritual exuberance. The rules, as well as the fasting, express the overcoming of bodily needs and empathy towards people weaker spiritually. The main motif of the piece is blurring the transition between borderline points of prayer as an environmental object, to a musical object. As the piece plays out, according to the amplitude of the prayer, the differentiation between the Moazin singing the prayer, and its subjective disposition as a sound object, fluctuates in the subjective carrier of musical emotion, and meaning. This musical conversation does not take a stand, nor does it present the listener an opinion. Rather, the use of hyper-realism is amplified, giving way to a transcendental experience which strengthens the perception of environmental sound as musical. |
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