Digital dada poetry

Feeder 02/SWE - Rafal Zapala

Feeder 02/SWE is a soundsculpture, that functions as a regular bird's feeder. The inspiration of the work is drawn from Timothy Morton's "dark ecology" ideas which claim that separation of nature and technology is a false, anthropocentric concept. Technology is a part of nature, humanity is a product of it with our whole culture, our tools and ideas.

The Feeder 02/SWE is meant to be a human intervention into the environment mostly occupied by non-humans. It looks "technical" (made from PC shell, black and little darkish, built from steel, plastic and electronics) and sounds like 80s' synthesisers in a tribute to analogue Jupiter 8V and Oberheim's SEM. It generatively plays slow and nostalgic phrases.

However the sculpture is a sensitive sensor that activate itself when touched (it triggers quiet strings' pizzicatos when birds are pecking or rain in dropping).

But simultaneously it's very carefully integrated, composed with land- and soundscape of the beautiful Rävemåla forest. It emits melancholic sounds with regular periods of time along with a synthetic voice speaking fragments of words - a kind of digital dada poetry. It mixes with birds' singing, buzzing of bees and flies, howling of winter and drumming of rain drops just like wind-chimes always do without an aesthetically conflict. It's meant to work no matter if any human is around, day and night as a part of environment.

I intend it to be my contribution to the place, like a trace of my presence here, where I have the right to be, where my home was for short time, where I left something which is not harmful and toxic. It's rather a contact point between me (or other humans ) and other subjects of nature.

Rafał Zapała, July 2017


Feeder 02/SWE is commissioned and made in the framework of Rävemåla Residency Program 2017.


Finally we can release the Open Call for 2019!



We are invited by New Småland to a two-day international retreat in Mariannelund where we will be discussing methodology and exploring the potentials, challenges and formats of artistic programming in places that are “off the radar” or can be hard to access.


We can't wait!