#resolved work

[theemblematicsoundscape]

Mandorla Duality - A0 poster print mixed media collage

This black and white print emphasis the light and dark the duality of the cosmos and of love the interlaced circle of yin and yang and the nature of corporeal existence.

[theemblematicsoundscape]

Final binaural render of Rose of Venus please listen in headphones here I added an extra lower sawtooth wave and adjusted some of my automation between partials

[theemblematicsoundscape]

MANDORLA MULTIVERSELarge A0 print , photography/painting abstraction I decided to slighty alter the artwork I used for the program of Murmurations so the image would be AO and it would have more of a sense of overlaid space like the virtual space in sound leading into the idea of a multiverse , multiple universes that exist out of the choices we make . The work also has spaces of black to represent the unmanifest unknown aspects of existence .

[jp-honours-archive]

SUBSTANCE (stereo mix) Final Resolved Work

This is the finished composition of SUBSTANCE that I have recently mastered as a stereo version. As discussed throughout the exegesis, I now understand SUBSTANCE as a spatiotemporally unfixed artwork that exists in multiple forms. Here, we listen to the work in stereo form, whether on a speaker system, or confined to a pair of headphones. Though SUBSTANCE is not constrained to the stereo realm, it mutates into any physical space that it pleases. The final presentation of the work will be a 12-channel diffusion in the life drawing room, providing its largest space yet.

The finalised work demonstrates the full power of the acousmatic, or sound unseen, showing how in the acousmatic space, anything may always be anything else. The final section of the work covers many sonic palettes in a very short time, reintroducing many sounds heard earlier in the piece. It acts as a concluding and powerful eruption or implosion into silence. Here, I have incorporated many of my recently documented field recordings: my voice, sticky tape and flute/recorder. The recording of the sticky tape has been spatially and temporally mutilated to provide an intense feeling of instability in the ending of the composition. We hear it, along with the synthesised chord, continuously lose a stable pitch until the final outburst. The recording of my voice brings a strange change to the work, as we have yet to hear an utterance of human sound from SUBSTANCE’s strange morphings. Unable to determine a clear speech from the voice-texture, the substance pushes it around the virtual acoustic space and moulds it between other sound objects. 

This section from the exegesis best explains SUBSTANCE as a whole composition:

The beginning of the composition utilises sound as a type of ‘cloud’. As heard directly after the opening sequence of the piece, sound appears as a mass of particles that gradually transform inside the virtual acoustic space. Emerging out of a wall of noise, this sonic cloud initially surrounds the listener in the form of sparkling glass-like objects. This shimmering structure was generated through granular synthesis, a technique that involves the breaking down of audio material into very small grains that can be played back in random succession. When heard over an immersive multichannel speaker array, this cloud of sound appears as a morphing architectural structure composed of many interconnecting points that evolves around, above, inside and through the listener. We hear the initial ‘sparkling’ sound turn into chirping birds, then to crackling fire, to crunching rocks, to water, to rain. While these transformations unfold, our causal listening is frequently stimulated and the acousmatic situation forces us to link these perceived physical causes together. Desantos, Roads & Bayle (1997 p. 17) compare this phenomenon of acousmatic listening to a ‘detective story’, suggesting that ‘one invents a scenario to find the chain of causality that explains the situation’. As our causal listening automatically assimilates the ever-changing sonic makeup of SUBSTANCE, we perceive the structure as a single shape-shifting entity. Sound is presented as a deceptive physical object, a kind of gaseous or liquid substance, contracting and expanding as it continually mutates throughout the acoustic space.

And finally, this deceptive and manipulative substance continually evolves at an accelerating spatiotemporal space, until shrieking with an endless array of sonic utterances before eventually erupting into silence. 

[theemblematicsoundscape]

Rose of Venus

Large Format A0 poster print Data, Venus photo and vector drawing abstraction

Here i scaled back the same idea from the program of the trial presentation to just the Venus surface abstracted into green and pink the magically associated colors of Venus  , The vector drawing of the Rose of Venus orbital path and a sample of the Vector Data I used to create the spatialization  from the time period of the trial presentation to emphasize that what we are hearing is happening now. This print while being far more ambiguous that other presentations , with no text, hints at both the romantic and scientific fundaments of the Rose of Venus sound composition.

[theemblematicsoundscape]

Rose of Venus Poster

Medium , Collage of Venus orbit vector drawing, Data and poetry AO poster Print

This large format print shows the Venus orbital path Some information from the data set and a small amount of text explaining some of the poetical metaphors Because currently in the time of our final presentation Venus is in its retrograde period which can be heard as the sound bending in the middle of the Rose of Venus Sound Work and be seen as the petal of the Rose in the Orbit drawings. I wanted this representation to lean more to the scientific presentation but with a hint at the romanticism of the previous works. This could act as an album cover or poster introducing the work

[theemblematicsoundscape]

lisa rae mandorla murmurations

Video and Binaural recording of my diffusion piece Mandorla performed RMIT black box theatre 7/10/2018 for Starlings Murmurations Spatial Sound Festival. Please…

Here is the Binaural recording  and video of my third resolved sound work Mandorla. This is a twelve channel sound diffusion performed at RMIT in the Black Box Theatre as part of the Murmurations Spatial Sound Festival ,organized by the Starling Spatial Sound Collective I am a part  off. Unfortunately, the metro tunnel construction works mean that there is a large drilling sound that somewhat ruins the ambience of my diffusion in the quiet sections but that’s the danger of live performance. Mandorla plays on the space between light and dark, chaos and order and circular movements between two orbiting bodies, as a metaphor for cosmic love . It also plays with withheld resolution, and build using ring modulation that circle back on them selves dissonance and harmony as a way of representing the light, dark and nervous tension of the experience of love . I was inspired by Jazz and Dream pop , Shoegaze. I wanted my project to touch on popular music styles as a way to create multichannel composition as its not explored that often and its sparse yet dense layers suit the organic nature of diffusion. Through my research, thinking about music as a pre-syntax language, I wanted to explore the possibilities of musical languages symbolic function so decided to make this third work in response to the outcomes of my research. It also gave me a chance to use guitar and instrumentation in new ways.

[theemblematicsoundscape]

Blended Abstracted Space

An over-layering of a photograph of Rhyll Inlet and The St Kilda Breakwater/Marina as a representation of the melding of different sound spaces/field recordings  within the composition to make what Trevor Wishart refers to as a Virtual landscape.

Here I have solarized and added colour filters and posterized the image to create a pop art like cartoon world. I chose red because I was thinking about the book of Revelation were the seas are poisoned and the waterways are blood and also the background of the city as a kind of new Jerusalem. One of the layers of metaphor I was working within the composition was the idea of Armageddon from humans overuse and wanton destruction of the environment . The pop culture element here is representative of the commercialization that has contributed the contamination and destruction of the environment . Water also being the life blood of the planet. This contamination also exists in the deep recesses of the psyche which is reflected in the world we see. Humans are full of anger and hate , its everywhere and this I see in the colour red. The abstraction  on another level could represent the pitch shifting,  time stretching of sound and other processing through delays and modulation I have used in the composition to change the colour of the sound.  These photographs while forming a part of my envisioning of the work I chose not to present with the performances because I didn't want to taint the inner imagination of the experience of sound with visual information  but I am considering in 2nd Semester a way to integrate them into the greater body of the work.