Sacred Music Festival, Jerusalem
Clive Davis
. . . A couple of nights later, an audience gathered in one of the chambers to witness Yaniv Shentser’s fascinating installation, Puja (Sanskrit for “respects”). In this piece, a circle of robots made from bric-a-brac including art deco lamps generated a haunting cycle of pulses, drum beats and rattles overlaid over ghostly recorded chants and whispers.
In the course of 30 minutes, sitting cross-legged, we were drawn into a hypnotic, subterranean sound world. The tumult of everyday politics seemed a long way away . . .
Robots, Reggae And Revelry In Jerusalem
Zack O'Malley Greenburg ,FORBES STAFF
. . .A few hours after midnight last night, I found myself in a basement room in Jerusalem’s Tower of David, watching and listening with two dozen revelers as a band of robots made from recycled household items played spiritual music for 30 minutes.
The performance, dubbed “Puja” (Sanskrit for “reverence” or “worship”) and orchestrated by musician Yaniv Shenetser, was part of the Jerusalem Sacred Music Festival...
The strangest part of the entire week was realizing the music that seemed the most spiritual, the most sacred–to me–was the stuff produced by robots. Nothing topped sitting on the floor and listening as a miniature mannequin banged on a gong, accompanied by a sparse but rhythmic chorus of metallic percussion banged out by, for example, an animal skull against a tambourine (words I never thought I’d find myself typing).
The experience raised a number of questions, most of which are too dense to unpack in this space, but worth considering: If robots can make sacred music, what does that say about spirituality and religion? If the robot is controlled by a human, whose music is it, anyway? Can robots have intention? And what are the implications of all this on the increasingly automated popular music to which we listen?
There may be more questions than answers here, but the act of asking is a worthwhile end in itself for anyone interested in music–even from a business perspective–and there may be no better place to do that than in Jerusalem, a place with a similarly complex and ever-evolving history.
A few hours after midnight last night, I found myself in a basement room in Jerusalem’s Tower of David, watching and listening with two dozen revelers as a band of robots made from recycled household items played spiritual music for 30 minutes.
The performance, dubbed “Puja” (Sanskrit for “reverence” or “worship”) and orchestrated by musician Yaniv Schnetzer, was part of the Jerusalem Sacred Music Festival
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