Re: [microsound] texture as narrative

[Darren & Vicky <immedia@xxxxxxxxxxx>]

We found much of the recent microsound communication to be very closely 
related to our work, so we thought we would share some of our ideas with you 
all.

....

sonic environments

Essentially we use sound to explore our perception and awareness of our 
surrounding space. We attempt to create immersive environments that engage 
the participant by drawing upon the natural sonic qualities of the space and 
highlighting them so that they are experienced in a new way. Our sonic 
environment projects explore the apparent silence of interior environments, 
drawing attention to the (non-)sound within these spaces. We record the 
natural sonic resonance of the space then, after manipulating and reworking 
it, play it back to create a new virtual sonic space inside the real one. 
The sonic qualities which define the recording source environment are 
retained, yet when replayed in that same environment, the space is 
redefined: a virtual sonic space now exists within the real sonic space, yet 
they cannot easily be distinguished, if at all, from each other. The looped 
recording playback and the continuous present environment merge to create a 
new sonic space. By placing a modified recorded soundspace into its source 
environment, the listener is encouraged to question their relation to the 
surrounding space - and how its (apparent) silence merges with the noise of 
the recording and the noise of the re-presentational medium, ie microphones, 
tape equipment, speakers. We are forced to reappraise how our brain, which 
is extremely adept at flitering the sonic information our ears receive, 
sorts what it considers to be relevant sound from extraneous noise. This 
background noise forms a constant presence which we usually regard as 
non-existent, as silence. Our installation work questions this limited 
perception of reality which we so easily take for granted. Within a gallery 
space, we will often employ darkness to surround and overwhelm the 
participant, inviting the senses to temporarily relax whilst at the same 
time being extremely heightened aurally to the surrounding environmental 
sound. The participant has no visual reference points to map out the space 
and is forced to rely on the sonic repercussions within the gallery to 
locate themselves.

in audio [02.99] cdr

This title refers primarily to the inaudible. This "silence" (imagine the 
sounds of radio and microwaves, electricity, neutrinos...) is a central 
aspect of the in audio works, which echo the chaotic resonance of "empty" 
space, exploring the grey area between sound and non-sound. The works 
present a constant mix of low-volume noise, static and very high frequency 
tones which fills the space, somewhat surprisingly given their low volume 
nature. The listener is aware of the intangible quality of the audio, which 
is sensed as much as heard: many of the frequencies used are beyond our 
hearing range. The in audio works respond both to the acoustics of the space 
they are played in and the position of the listener. They play for 10 
minutes each, giving the listener every potential to fully appreciate the 
space they are in: also, awareness of the sound alters after prolonged 
exposure - over time a sound that has previously gone unnoticed may suddenly 
become apparent and vice versa. The essentially repetitive nature of the 
works engenders a sense of timelessness - the sound seems to exist without 
beginning or end. A companion cdr for future release will explore extreme 
low-end bass frequencies, continuing to utilise the physicality of sound 
which is felt rather than heard. Any work on this future companion cdr can 
be played in conjunction with any work featured on in audio 02.99, creating 
a number of potential macro-works. This emphasises that the works in the in 
audio series are not fixed, but are essentially constantly evolving, ongoing 
experiments. The date on the cdr refers to the time of pressing.

repeat play cdr

This is a cdr just released by Microwave, a subsidiary of Staalplaat, from 
Amsterdam. This utilises electronic sound, created through system software 
error and limitation, to explore repetition and, again, the grey area 
between sound and non-sound. It features 7 works, each 3:00, which go beyond 
the notion of editing, arrangement and change, presented as static 
constructs. This cdr also includes
-50>+50, a work which explores subtle change over an extended period 
(11:40).

immedia

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