Due to my observation that sound IS THE ABSOLUTE ABSTRACT MEDIUM due to its independency from the restrictions of vision .No visual form as abstract it might be can be experienced
as such cause the human mind NEEDS to categorize everything it sees in order for the self to be safe...
so horizontal forms are being perceived as landscapes and vertical forms as people or animals etc .
Only Jackson Pollock managed to get pass of this restriction by eliminating the verticality of the easel.
Painting directly on the floor using dripping instead of the use of brushes softened the representative effect but nevertheless the vision restriction of logic was there.
A note : In order for an artist to develop his own personal (visual?) language the first step is to get pass
the impact of years and years logical transformations that the artist had after his childhood.Part of the training of a kid is to become familiar and attached to the real world .Part of this transformation is the changes that happen in the drawings of children through the different stages. With the exception of artists that kept their active imagination through childhood until they became adults, we the rest of artists saw our childhood imaginative drawings changing in to what i can call typical representations of the outer real world.So the first step is to reverse this - and one method is to get rid of vision ... with for instance drawing with in complete darkness , or make fast drawings that allows you to get the first impressions of things in a non so logical way.
And by saying that i started already the process of using the wave field system and purely electronics
sounds in order to try to make abstract sound drawings / that is drawing in space with sound as a medium.I think this system is ideal for such an experiment .
screenshot of the first experiment
By using it for this first time - i kind of realized what are its strengths and what are its weak spots.
And after discussions with Edwin van der Heide on the spacial interaction matter and with Johan van Kreij on the sonic part, i came to the conclusion that i will approach this in 2 ways :
1.the sounds are more static and the visitor is making the drawing by his movement.
2.the visitor doesnt move and the drawing is being made by the sound movement itself. 1.WFS first experiment. session using many one spot sound sources and 2-3 random or cyrcle paths.This is a stereo field recording in the room with the 2 condenser mics in the middle of the room and static.another experiment will follow with DPA mics and me moving in space while i am recording.This is a set of experiment in order to approach the WFS as a painter , drawing thus sounds in space.at the moment the sound result doesnt differ from a music electronic piece. IN ORDER TO HEAR ANY SPACIALISATION USE HEADPHONES.
note: for one of the sounds i used a maurizio giri patch so he must be credited.
update: i have made a rough sketch with all the positions of the sound sources and also the positions of the sound walks....
i will use this to make a drawing of the sound events through the piece.
update : and this is the drawing . note that i made this strictly based on the spacialization and sound characteristics and i paid little attention to the aesthetics of the drawing / no corrections i mean .
Maria Aristotelous Richard Barrett Kathrin Grenzdorffer Younes Riad Ekkehard Windrich This piece is evolving around 2 graphic scores , 5 players and a Drone .The Drone as the continuity of time... The Collective memory, when and where events may or may not happen.The Events are spontaneously and individually activated but are also being driven by the impact of the Collective Drone.THIS IS A DREAM... The drawings/graphic scores used through the whole process were :