EKK:LoFi Sounds in HiFi Spaces/Convergence: Difference between revisions

Revision as of 05:34, 6 May 2013

Idea

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

Experiential Description

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

Participants

anybody feel welcome!

Links

Maryanne Amacher: Headrhythm & Plaything > otoacoustic emissions.
Jaroslaw Kapuscinski: works: seeing-hearing
Georg Klein: TRASA warszawa-berlin
Kaffe Matthews: Music for Bodies
Randy H. Yau, Scott Arford: Infrasonics live in Paris

Literature

Caclin, Anne et al.: Tactile "capture" of audition
Hope, Cat: Silence As Stillness? Sonic Experiences in Art using Infrasonics
Ouzounian, Gascia: Embodied Sound: Aural Architectures and the Body
Schroeder, Franziska: Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments

@@ Line 8: / Line 8: @@
 Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).
+===Experiential Description===
+Upon entering the room, a quiet din can be heard.  These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density.    Four squares of light can be seen on the ground, in four colors.  A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego).  The participant's trajectory is then followed, affecting the queued sample.  The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier.  The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample.  As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound.  The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level.  If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.
+It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.
 ===Participants===