“I Enjoy The World” is the second installment of the “Myth and Prosthesis” series, a reflection on the relationship between body, mind, reality, technology, politics and culture. It is an immersive, site specific sound installation that creates a sonic meditation environment, which uses music as its main medium, together with video, poetry and robotics. It is the result of an experiment I did over six months, which consisted on the use of different technologies of the self: sexual repression/excess, virtual disconnection/hyper-connection, and fasting/psychoactive overstimulation, as ways of recovering mysticism as a form of resistance and agency. I wanted to re-interpret mysticism outside of the monopoly of official religions, ancestralisms, or new age.
I understand mysticism and mythology as a subversive relationship between body, mind, technology and reality. Our minds are a battleground. I am interested in re-coding mysticism and myth to use them as a starting point to escape the fields of meaning that capitalism’s prostheses and virtual worlds are spreading in the increasingly important negotiation arena of our dreams, bodies and altered states. Mysticism has been key for me to create a personal mythology and my own prostheses, outside of the insidious dynamics imposed by new technologies and social media.
The music for “I Enjoy The World” is the main element of the installation. It is a 40 minute music piece created while inhabiting the different self-induced mind/body states over the 6 months experiment. It was conceived and performed with a series of prostheses/instruments that include software and hand-built hardware I made specifically for the project also over that period of time.
The site specific sound installation/sonic meditation also includes texts/visions I wrote during the 6 months experiment, extended visuals by Muriel Holguín, and a live interaction of myself with the sound sculpture from “Myth and Prosthesis I: Do Robots Have Ethnicity?”, a drumming robot that generates random rhythmic patterns and improvises in real time with a Latin American-oriented logic of rhythm (more info here).
The music for the sound installation has been featured on Wire Magazine: “the sounds retrieved during his psychonautic deep dive are blended into a fugue state of submerged kicks, bird-call bleeps, synapse tics and the ghost melodies heard in dreams”. It was reviewed by Bradford Bailey at The Hum as “engrossing and creatively brilliant on every count (…), a multilayered reminder of the spirit of the avant-garde, and the political potential of music at large. I can’t recommend this one enough” (full review). The installation was reviewed in Zona de Obras (Spain) as a “high sonic engineering piece, a lysergic approach to the tradition of Peruvian music translated by Rozas’ advanced gaze” (full review).
Music Piece/Sonic Meditation
Cassette released by Buh Records (Sold Out). Available for download here:
Extended Visuals by Muriel Holguin
Site Specific Installations
Pilgrimage/Sonic Meditation at Omi International Arts Center. New York 8/17/17
Intervention at the sculpture garden that ended up with deep listening of sound landscape and sonic meditation.
Performance and altar construction for Radial Gallery. Live online transmission from my own home. Brooklyn 8/10/17
A personal ritual to activate my home as a myth site. Real time transmission as a hole in the internet.
Phases in the lapse of 4 hours:
Construction of an altar using sound sculpture/drumming robot and personal symbol system.
Sound sculpture/Drumming robot improvises a piece in realtime.
Photos by Ameer Kazimi.
Sonic Meditation. Lima 7/21/17
Private session for 10 people.
Several personal emails were exchanged with each participant before they could buy the ticket.
The directions of the space were given privately to each person.
When they arrived, a text (see below) was given to them and they were asked to be in silence.
Afterwards they were taken to a room where the video was projected.
Then they were taken to a dark room where they listened to the sonic meditation for 40 minutes.
At the end lights were turned on and the participants left in silence.
Photo by Aspasia Narvaez
Translation by Debora Levy:
[And in the vision I was told
That the theory of gravity would one day be a laughable belief.
That the fact that immense masses of earth and water don’t fall up into the infinite abyss of the universe has more to do with matters of repression and psychic design at a grand scale. That it is also how collective illusions like scientific thought and the sky are generated. That the sky is only there to mask the daily confrontation with the illusion of humanity. That there are universes much more beautiful in which everything is constantly falling. And that death had something to do with that.
Astral Mitosis = Karyokinesis|karyo = nucleus|kinesis = movement]
[Is the name of the first phase of Mito[Sis[
[Randomized connections]no less real]
]Schizophrenia]and]the Internet][no less real
Schizophrenia, art, creativity, curators, the internet and the control of
There is only one being and he is alone in the universe, and every single thing that exists is his hallucination. He refuses to accept nothingness with such intensity that an immense energy accumulates, generating a black hole that absorbs all nothingness and constantly generates realities. As he comes to accept that he is in absolute solitude, he comes to the painful realization that he too is an illusion. And that he must die. Imagine what the last human on this earth might feel confronting death. Or if he ended his own life. Now imagine what the universe might feel upon dying, upon ending its life. You are that being. You would have to confront all this if you decided to wake up from the psychosis of reality. Please wake up, this message comes from reality, from those that love you, please wake up. We are out here and we love you.
The spirit that protects me
is a being made of 100,000 kilograms