Installation at Otto Cafe, London, with pieces from elias merino & francisco lopez & daniel del río & rian treanor & olivier pasquet
The piece is one “versioned sonic timeline”. Its mechanics generate a pointillist stream of moirés onto a timeline. Every run is a new form characterized by a classic beginning and end. A visual score is also build for every run. That inner fabrication is materialized by a unique speaker that projects the negative version of that stream. Space’s response is its positive answer. The outcome fullness is answered by sharp wholes.
This sound installation explores the distance and the ecology between the listener object and the listened object through algorithmic sound synthesis, giving to the audience a specific sonic experience in a single space, but at the same time de-localized from any traditional trajectory-based perception. The artistic use of sound plasticity is based on reductive synthetic material that acquires complex morphology with non teleological time developing.
The main motif of the single speaker is linked to the idea of indivisibility unfolded in concrete/abstract sound bodies, which are specifically designed as an autonomous or self-sufficient entities. These dynamic entities are designed by non hierarchic and generative internal articulations and micro-structural relations, inside a quasi static macro shape as a macro-structural level. The installation aims to go away from any reference to economy in the policies of contemporary sound diffusion practices such as single vs multi-focal sound diffusion or auditory perception studies.
Through these abstract sculptures, the installation builds a discrete entities which are experienced as a unitary shape, implicating the listener in a flat and non hierarchical relationship with the sound object and creating a single presence in a big isolated point. The work revises and explores the perceptual removal of different concepts such as object-hood, hierarchy, aesthetic distance or otherness.
Indivisible streams suggest to the audience a non-expectation listening state, each artist creates a unique sound entity in this specific arrangement with no reference to any authorship during the diffusion in order to create a vivid relationship with all the pieces together.
Example scores of olivier pasquet’s granular synthesis: