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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. | 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. | ||
Additionally, we could play with different kinds of opposing sounds. One thought would be one of language - convolving english and german speech or perhaps speaking and singing - Or even pop songs or live feeds of spaces producing unique ambient sounds. | |||
===Participants=== | ===Participants=== |
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