The term “elemaun” (loanword from French) is equivalent to the English word element, commonly used in mathematical terms of the surface integral in Persian. The components and smaller surfaces that are selected to study the whole surface are called “elemaun.” Such elements can contract in size to a considerable degree to estimate the limit value of the intended surface.
The project is the result of research started in 2016 in the format of audiovisual performance set in experimental electronic music, recreating & sampling the ritual & regional music of Iran and rhythmic patterns in both formats of sound and visual inspired by Persian culture and the Middle-Eastern philosophy. The Elemaun audiovisual set is created based on appropriating the motifs, visuals, and the regional and ritual music of Iran combined with contemporary electronic music and abstract visual narrativity executed through technology for producing and controlling digitally created real-time motion pictures to create a project based on the context of live cinema.
The regional and ritual music roots are connected to deep mysticism and ancient lifestyle and the source comes from nature, life, and social interactions of instrument players with their people and their habitat. They should reach a sublime spiritual position to be permitted to play when the musical instrument allows them to play so they are considered as masters and mentors in their societies.
Inspired by the sky, rain, nature, and love, this music is used as medicine in healing ceremonies in some regions with staged musicians singing and performing for the generosity of the sea and sky or mourning for their lost ones in the sea.
Considering this deep flow of energy and the musicians’ being detached from the physical world while playing, this project was complemented by adding a contemporary touch of music composed based on those key tunes and recreating these materials into a new form of music.
The set consists of six compositions of digital and analog synthesizers, field recorded samples, ambient soundscapes, and synthesized drum machines referencing different cultures, music, and narratives and the same approach has been taken for computer-generated motion pictures and real-time edited video footage. The tunes are sampled as abstract, minimal, and repetitive motifs from different cultures of Baluch, Azeri, Southern Iranian Arabs, Khorasan, etc.
The visual aspect of this project is an attempt to bring together the elements from literature, architecture and art, considering the Iranian rituals and performative arts including the mystical dance of the Sufis over thousands of years in the Iranian plateau. The noises and digital glitches of the 90s cassettes, the video images of past decades, the reproduced images of architectures, and real-time visual codings are trying to depict a non-specific place and time meant to be created in the audience’s mind based on their own perception.