‘Clouds rising from the mist of time’ is a non-durational generative exploration of sound, from the meso time scale of musical form and structure, down to the micro level of sound particles. Modelled on natural acoustic environments, the underlying organisation is based on the principal of fluid interaction between individual microsystems controlling all aspects of sound quality and granulation. The feedback circulating within and amongst these different controllers acts as a ‘bloodstream’ to the system, preventing it from settling into any one stable state of repetition or replication. This closed system interrelates with the present and immediate past, causing an evolution of possibilities. The result is a natural emergence of chaotic patterns that are nonetheless limited to the confines of the system. In other words, the organisational structure improvises its likely progression by listening to itself in order to find a path through the acoustic landscape, within the limitations of the conceptual space. The work thereby has no clear beginning, end, or in the traditional sense, progression, but rather relies on the listener’s focus of attention to mark out the individual trajectory.
The starting point in the construction of this sonic landscape is the internal and external sound world inhabited by a successive fusion of three initial samples. The relatively pure pitch of reverberating glass is juxtaposed with and seamlessly morphed into the overtone rich frequency of resonating metal, finally and slowly giving way to the naturally granular acoustic landscape of fizzing water. This carefully constructed sample, already pointing towards the decomposition of sound as a central theme, will in the course of the unfolding work reveal the microcosms of sound hidden within. Subject to manipulation are the time syntax, pitch, use of sample, duration of grains, pitch randomness, panning, panning diffusion and volume. The acoustic vocabulary of the piece ranges from pitch to noise, consistency to fragmentation, natural to artificial, whilst always staying within the boundaries of an overall feasible soundscape.
Flux within this carefully calibrated closed system, it is to be noted, is of higher importance than any of the individually described correlations, many of which stand in deliberate and direct conflict with one another. For example, a smaller panning diffusion pushes the system towards faster transformation, faster transformation tends to increase the spatial movement, and this in turn reduces the panning diffusion. None of these feedback loops however function in isolation, but rather correlate with any other aspects of the work. The unfolding world of sound, or the structure producing the same, reflects on the regulation of interdependent elements in our natural habitat, wherein a direct or indirect chain of events, connects all variables. The unpredictability and potential chaotic nature of such organic structures is the underlying surge, and by immersing oneself in the self-similar generative acoustic environment one becomes aware of the infinite possibilities within this. |
