NOW IS THE ONLY TIME, WHERE ARE YOU?
Conceived of during the two years of the pandemic, this work considers the sonic space or ‘sonic land’ of mycelium and insects. As human beings, we cannot be sure if non-humans see the world in the same way as we do - whether other beings perceive the same world of sounds differently.
For the composition, I investigated the possibility of entirely synthesizing a forest starting from pink noise. Listening to insects over nights in huge open spaces and dense forests at different times of the day - observing the far distances across which insects seem to speak to each other etc - gave me a sense of the rhythms and events that are created when repetition is not temporally exact but event based. I used these observations to synthesize sounds, spatialize them, multiply them, and then to arrange them over space and time to create a composition that could come close to the nuance and complexity of an actual forest.
The dome-shaped set up at ZKM comprising forty-seven loudspeakers allowed testing spatialization algorithms and speaker compositions.
Redirect to the performance documentation here.
For the composition, I investigated the possibility of entirely synthesizing a forest starting from pink noise. Listening to insects over nights in huge open spaces and dense forests at different times of the day - observing the far distances across which insects seem to speak to each other etc - gave me a sense of the rhythms and events that are created when repetition is not temporally exact but event based. I used these observations to synthesize sounds, spatialize them, multiply them, and then to arrange them over space and time to create a composition that could come close to the nuance and complexity of an actual forest.
The dome-shaped set up at ZKM comprising forty-seven loudspeakers allowed testing spatialization algorithms and speaker compositions.
Redirect to the performance documentation here.