Acousmatic Sound Art

Nocturnal Breathing – Acousmatic Sound Art

An experimental acousmatic work comprising of 3 Acts, where the entire 12 min project is created from a single 3 second audio recording. The initial recording was that of small ocean waves lapping against a rock wall.

There were several aims to this project.  The first was to create a unique Aural world where the listener is given Aural cues that help to discern the space and atmosphere of the sound world, yet are left to interpret the piece and find their own meaning within it on their own. Enabling each listener to have a unique experience with the Aural world, limited by their own imagination and reflection.

The second was to restrict all sounds within the piece to be derived singularly from the initial recording. The were to be no other sounds or even synthesis used. The initial recorded sound was moulded, transformed, and manipulated using various production techniques in order to create the sounds revealed in the piece, creating an overall harmonious soundscape as all sounds are derived from a single source.

 

Nocturnal Breathing
Humanism – Sound Art Installation: Performed at the Australian Institute of Music December 2015

Humanism is a Sound Art Installation which is performed in a darkened room where the listeners are blindfolded. Sound is delivered  in a quadrophonic surround environment allowing the listeners to be fully immersed in the piece.

Humanism explores how the various basic sounds that humans make such as breathing, mouth clicks and pops and vocal inflections can express a wide and diverse gamete of meaning and reaction. Meaning and therefore reaction are explored through the use of speed and duration of sound delivery, repetition, cadence and direction of sound.

Over 1100 individual sound samples were used in this piece none of which were repeated. The individuals who were recorded  for this project were not given any explanation as to how their samples that they recorded were to be used or the final desired outcome of the installation. This was done to remove as much as possible any inherent meaning in the sound, and to remove any “acting” that each individual might do on order to achieve a certain meaning or expression.

Through the placement of these sounds, meaning and expression is explored not by the original “performance” of the individuals in the recording process but rather through the delivery of the piece as a whole as a soundscape.