19
edits
No edit summary |
No edit summary |
||
Line 16: | Line 16: | ||
It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement. | It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement. | ||
Perhaps the din at the outset could be a quadraphonic layer of the two kinds of sounds, with mechanical sound layer coming from below and a natural sound layer hovering above. The triggered sounds could seem to float between the two, or perhaps the triggered sound could emerge from the respective layer, subtracting the indicated sound from the texture. Once all four zones have been triggered, the din would be completely absorbed by the "triggered" sounds. As stasis returns, the sounds float back to their respective layer, or perhaps the sounds would return to the wrong layer, ending the piece with Weimar sounds together and San Diego sounds together. | |||
===Participants=== | ===Participants=== |
edits