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Ringing through connected disconnected spaces to form a new continuity..

The Recombinant Acoustic Hypercube is an augmented sound sculpture that creates a live, hyper directional, reflective acoustic space.

It consists of n number of 'nodes'. Each node is a real space, for example a room or a hall, with real acoustic features. Each node is connected to the combined space via a microphone, a loudspeaker and an audio network device (basically a very sophisticated phone/modem with high sound resolution and little latency). A computer patch is employed as 'switchboard' to route the signals - either in a daisy chain for example A to B to C to D to E to F to A to complete a loop, or random directions.

Node schematic:

Schematic for global listening point:

Microphone:

Microphone

Sound modem:

Linux Router:


My PhD was on plastic continuity in Microtonal music. Influenced by the work and philosophy of abstract expressionist painter Mark Rothko and painter Bridget Riley, I took Rothko's ideas about the experience of movement in terms of colour, form, texture and space via methods of abstraction, and applied them to my compositional framework. Similarly Riley's ideas about 'distorting the senses' influenced various compositions and new pieces to come.

The portfolio contains seven compositions with varying instrumentation, ranging from string quartet to computer processed voice ensemble to purely electronic forces. Fata Morgana is the largest work in the portfolio and written for female voice ensemble, percussion and live computer processing or tape. Its main concern is that of extending the human voice via the auditory illusion of the Shepard’s tone. String Quartet No 1 contains excessive glissade to expose microtonal qualities. Haute Rorschach, When all memory is gone, Drift, Gala and Mutation 2 all explore complex and unique microtonal tuning systems and are written with instrumentation left relatively open ended: given certain conditions, both acoustic and electronic forces are able to perform it.

The most prominent compositional aspect that features in the portfolio is an approach towards the experience of movement in terms of colour, form, texture and space. Material consists of lines and curves such as glissandi or the Shepard’s tone auditory illusion, pitch fields, waves, pulses, flickering morphologies, distorted glows, morphs and slow transformations. This material originates from focusing on the internal properties of sounds, for example, the use of microtonal intervals that are clustered to produce beating patterns, third tones and unique colors. Macro forms are determined by this material and range from drone to simplistic, repetitive gestures. The final approach is a focus on the experience of sound in and as space: most pieces feature artificial acoustics as prominent part of the material and overall texture.

 


Ringing through connected disconnected spaces which is a new continuity..

Rooms, each with microphone and loudspeaker, are daisy-chained in a directional live audio tunnel: each individual space, is a node and is able to receive audio from another node through the internet and play it into the space through a loudspeaker, record the reverberations and other ambient sounds of the environment and send it back over the internet to the next similar device with super subtle latency...

Conceptually, this work challenges ideas of territory, control, transmission, tranception and how we listen to the world. The tunnel is live and interactive: the participant becomes the transmitter and is transmitted/ displaced (in sound) in many actual places in fractions of milliseconds. A recursive eavesdropping becomes possible in this unseen territory. Live sound travels from location to location, reverberating in each space. A kind of anonymity reverberates through the piece. It is a borderless territory designed for listening. Acoustically the reverberations and other characteristics of each space add up, thus creating a new recombinant space that is the distorted and warped sum of its parts. The directional audio tunnel - loudspeaker to microphone to network device to loudspeaker to microphone to network device and so on … traveling around the world through sound.

Rooms, each with microphone and loudspeaker, are daisy-chained in a directional live audio tunnel - each individual space, is a node and is able to receive audio from another node through the internet and play it into the space through a loudspeaker, record the reverberations and other ambient sounds of the environment and send it back over the internet to the next similar device with no noticeble latency...

It was developed as part of the Wunderflater MFA show.

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