By education I am a mathematician (I studied mathematics because of art, to develop some other approach). For many years I was professor at the University of Belgrade (Faculty of Mathematics and University of Art), visiting professor/researcher at the University of California (Berkeley), University of Hamburg, University of Bonn, MGU - Moscow, and NYU. I received a Fulbright award for mathematics 1985/6. And since 1998, I've been running UMNA / Art&Science, an independent organization in Belgrade.
Marica Radojčić and Miroslav Miša Savić, Brain & Weather Storm, New York, 2016
With sound I started to experiment relatively late. It came at the moment my projects started to become more and more complex: ambients with projections of animations and videos, installations, light and laser effect, performances... The whole artificially created spaces using digital technologies and digital equipment. At one point I needed a sound too, I did not want mute spaces or deaf room. I started with the sounds created by other people – fortunately I knew many composers both domestic and international.
I confined myself to two friends: Phill Niblock and Miroslav Miša Savić. I was not satisfied with the results in sound. I wanted something much more complex. As I had access to the sound effects archive of RTS / Radio-Television of Serbia, I started to experiment with them. Their archive was and still is very rich and packed with all possible sound effects, many of them recorded in natural environments. In addition, there were hundreds of artificially produced sound effects that were so well produced that it was difficult, even for a sound-expert to recognize that they were made artificially.
Starting from the choice of effects and using powerful mathematical algorithms for transformation and combination I discovered an enormously rich new world: the world of sound. And it was new for me. Unusual for typical sound experiments, my approach to sound was almost the same as my visual approach. I used the same programs that I used for the image, insisting on many layers (this time audio layers), several sound sources, visual transformations of the corresponding mathematical curves (which are less complex than in the visual case). In short, I have been using for sound much more powerful software than composers and sound experts usually do. Judging by the attention the musicians at Experimental Intermedia in New York showed while listening, and by their questions after the performance, it seemed that the result was not typical.