Relative Silence at Dawn sound art | RESEARCH

Album compositions by beepblip

Video and album cover Lina Rica

Vocal by Tisa Neža Herlec

Production: Sektor

Premiere at Cirkulacija 2, Podhod Ajdovščina, Ljubljana, 17 December 2021

 

Themes: psychoacoustics, silence, anxiety, isolation, atmospheric sound, sound pollution, hearing impairment, deafness, automatic composition, deaf chamber, concentration

Thinking about silence was triggered for me by field recording on the edge of an ancient forest near Kočevska Reka. Listening to the winter silence, I realised that my compositional structures are insurmountably oversaturated and unable to present the beauty of this frozen landscape, in which, I was painfully aware of the terrible distances from the cruel natural processes of cold, loneliness, solitude, pain and incomprehensible perseverance, endurance and serenity of the non-human-others. These qualities would be useful to us precisely in the current situation of isolation and uncertainty. For the Relative Silence at Dawn, I set myself the task of organising a musical event that would suit the mood of solitude and perseverance, the two opposite poles of silence.

The capitalist machine came to a halt because of the virus, but despite the eerie presence of this tiny insignificant primitive non-being, all the field recordists quietly rejoiced. Finally, the world sounded to us as it should. Without the constant presence of drones of planes and vehicles. From this perspective, the silence in the urban space dictated by the restriction of movement, produced an abundance of audible presence of animals and other urban subjects, and created another psychogeography. In field experiments, I wonder if the contrast between silence as presence and silence as absence will bring a solution to my question of oversaturated composition. in field recording and final electronic compositions, I am interested in effects of the urban environment on the emotions and behaviour of people and non-human-others.

Relative Silence at Dawn is a long-format meditative performance session that include time stretching with long silent sequences and monotonous pulsation. In terms of genre, it belongs to ambient electronic drone music using field recordings and algorithmically programmed music. For the structure, we use automatic composition methods that insert unpredictable elements into the sound landscape, thus mimicking the quiet but at the same time unpredictable sonority of the environment. 

 

[SLO]

Razmišljanje o tišini je zame sprožilo terensko snemanje na robu starodavnega gozda v bližini Kočevske Reke. Ob poslušanju zimske tišine sem se zavedla, da so moje kompozicijske strukture nepremostljivo preveč nasičene, da bi z njimi zmogla predstaviti lepoto te zmrznjene pokrajine, v kateri sem se presunljivo zavedla strašne oddaljenosti od krutih naravnih procesov mraza, samote, osame, bolečine, pa tudi nedojemljive vztrajnosti, vzdržljivosti in spokojnosti. Te kvalitete bi nam prišle prav v trenutni situaciji, ko živimo v izolaciji in negotovosti. Za Relativno tišino ob zori sem si zastavila nalogo, da priredim glasbeni dogodek, ki bo ustrezal razpoloženju osame in vztrajnosti, dveh protipolov tišine.

Kapitalistični stroj se je ustavil zaradi virusa, a kljub srhljivi prisotnosti tega drobnega nepomembnega primitivnega nebitja, smo bili vsi terenski snemalci in snemalke po tihem vzhičeni. Končno nam je svet zvenel, kot bi moral. Brez stalne prisotnosti brnenja letal in vozil. Iz moje perspektive tišina v urbanem prostoru, ki jo narekuje omejevanje gibanja, po eni strani pomeni izobilje, ker naposled naredi slišno prisotnost živalskih in drugih urbanih subjektov, po drugi strani pa ustvari utesnjujočo psihogeografijo. Pri terenskih eksperimentih me zanima, če bo nasprotje med tišino kot prisotnostjo in tišino kot odsotnostjo prineslo rešitev za moje vprašanje prenasičene kompozicije. Poleg vprašanja prenasičenosti me vedno pri terenskem snemanju, kakor tudi pri končnih miksih, zanima psihogeografija oziroma raziskovanje učinkov urbanega okolja na čustva in vedenje ljudi in živali.

Relativna tišina ob zori bo skladba dolgega formata, ki bo vsebovala raztegovanje časa z medprostorom za dolge tihe sekvence in monotono pulziranje. Žanrsko bo spadala v ambientalno elektronsko drone glasbo z uporabo terenskih posnetkov in algoritmično programirane glasbe. Za strukturo bom uporabila metode za samodejno kompozicijo, ki bodo v zvočno krajino vmestile nepredvidljive elemente, s čimer posnemam tiho, a hkrati nepredvidljivo zvočnost okolja.

Referenca:

Salomé Voegelin, Listening to Noise and Silence Towards a Philosophy of Sound Art, 2010
https://www.bloomsbury.com/us/listening-to-noise-and-silence-9781441162076/