This audio comprises binaural and stereo recordings. As a result of the mix, it is best experienced when listened to on headphones.
The binaural audio is related to the research I conducted during my residency at EMPAC in Troy, New York in 2014. During two weeks in May 2014, I created different architectural configurations employing 16 moveable walls made out of materials with various acoustic properties. I placed many speakers around them to compose sounds that focused attention in different ways, an approach that reinforces sonic hierarchies.
In November 2014, I focused on one particular wall/speaker configuration and invited choreographer Jocelyn Tobias to wear binaural microphones and record while moving in the space. In February 2015, Eric Laska and I asked Jocelyn to listen to the binaural recordings while simultaneously verbalizing her experience of listening to them. Her verbalizations were recorded in stereo and added to the binaural mixes. Below are the 3 takes in order with notes on what was playing though the sound system during the binaural recordings.
take 1: noise (white noise played through all the speakers with equal power)
take 2: no audio on speakers (room tone)
take 3: inside/outside composition (field, voice and foley recordings)
This project is an attempt to process a sound experience through another language, in this case dance and words. In the EMPAC installation the walls and sound system are moveable, the audio interchangeable, our understanding of the space is in flux. The most stable thing in the room is now the performers/participants own body.
I am interested in how an individual, trained in movement, listens and to what extent I can guide their movement with sound. How attention moves between one thing and another. I believe it is in this in-between space where we are most vulnerable and open. How do we respond between our bodies and the sound, what feedback do we allow?