Miha Ciglar, a sound engineer and sound artist, has in recent years devoted his musical efforts to the sound research of feedback and to environment creation, into which he positions, besides the technology and objects, his own body as well. Often producing “sound objects” out of everyday objects, Ciglar places into the electric circuit a round glass container, for example, filled with water or soapsuds, or a television screen, while modulating the constituting sound field of the feedback with the movement of his hands, with a washing sponge or the body, thus carefully tailoring a highly expressive sound landscape of noises, high and low frequencies, pulsations and interferences. The material, the space, the medium and the interface, and especially movement are essential. Because Ciglar so frequently relies on the latter, his performances can also be seen as belonging to the field of sound performance art, in which he has developed over the years an exceptional sense for the whole, be it in his work in the field of performance art and multimedia environments or in the gap between art and science, a field which can be defined as many-sided, ambiguous even, as an extraordinary reduction of sound to basic elements and the examination of the act of performance itself, the role of the performer and contemporary technology. Ciglar has been for a number of years adopting a rather unique position in the field between music and sound, which can be delineated through the field of sound art, a field which Miha Ciglar significantly co-creates with his nongovernmental institute IRZU – Institute for Sonic Art Research through an on-going organisation of theoretical reflections, workshops, discussions, lectures, round tables, and ultimately, with the festival Earzoom, which is, with numerous collaborations with similar nongovernmental producers of similar contents, becoming the central festival of sound art in Slovenia. Ciglar’s effort and engagement, as well as his insistent demand to introduce electronic music, sound art, and ultimately the “concept” itself into the general music discourse in Slovenia is exceptionally adamant and at the same time contagious, creating a strong platform that may finally make a rupture in the headstrong membrane of the prevailing music discourse in the institutional milieu, so that it also may at last open up to these kinds of contents. Ciglar performs and gives lectures on such initiatives throughout the world, in prominent institutions such as the Dutch STEIM or the French IRCAM, as well as in established international festivals in France, Japan, North and South America, Asia, Europe and Australia. As a student of guitar and saxophone, Ciglar graduated from the Austrian IEM in 2009, while establishing himself as a strong author in the field of contemporary composition, both for various, often re-worked instruments as well as in the field of electroacoustic and computer music. In his work, Ciglar has always knocked against the boundaries of the merely musical and has increasingly appeared in the field of the interdisciplinary, where different expressions of audiovisual installations, interactive dance performances, etc., are traversed. In the between spaces of science, technology and art, Ciglar understands the body not only as an interface but as a space of spontaneous action, as a space of pain even, which functions as a constitutive moment for the overall context and structure of individual creations. And it is precisely through space and the collision of elements in it that these kinds of works, unique instances of music research, can be interpreted as compositions as well. However, here, Ciglar strikes not only against the physical phenomenon of sound and its meaning, but also against the multiplicity of meanings and the critique of complex relations between technology, man and the structure of society at large at the same time. Albeit the research dimension of his creativity is inextricably bound up with his past works, as for example, in “Tastes Like” for two speakers, a mixing table and the body, this trait, a consequence of on-going processuality in his work, is nevertheless most clearly visible in one of his latest works “Sonic Beams / Acoustic Shadows”. At the same time, Ciglar’s work is equally important for its engaged attitude and susceptibility to organisation, research, learning, reflection, critique and examination of relations between the nongovernmental sector and rigid institutions. And this element is certainly not outside Miha Ciglar as a maker and artist, but proves to be one of his most fundamental ingredients
Miha Ciglar is a composer and researcher in the field of audio technologies. He holds an MSc degree from the Academy of Music and the University of Technology in Graz, Austria. Since 2001, he has been presenting his compositions for different acoustic instruments as well as electro-acoustic and interactive-dance performances and audio-visual installations at art festivals all over the world. Lately, he has focused on performance art, which he combines with designing new concepts for musical instruments. His work is marked by the intertwinement of interaction methods and music information retrieval procedures and the development of systems for time pattern recognition (music structures, gestures and choreographies) in real time. In 2008, Ciglar founded the interdisciplinary Institute for Sound Art Research, IRZU. He is the initiator and curator of the international festival of sound art EarZoom, which took place in May 2009 and October 2011 in the frame of IRZU.