Study I

psychogeography and the dérive

A term significant to the early and middle phases of my doctoral research was "composition-instrument." Unlike other complete works that I had completed in the past, this study specifically endeavored to expose the role of each term (composition and instrument) and to address questions about listening, interaction, and the overall sonic palette of my works.

Musically speaking, I have always been interested in creating worlds or moods; ultimately, personal and public spaces with sound. Digital tools make it possible for me to create works where virtual and imaginary spaces can be explored. My interests have always been concerned more with the aural quality of these spaces than the visual, as they offer a different and new potential for music that I have not found in any prior musical endeavors.

In this study, sound spaces are graphically represented as triangles. In the role of poiesist, one has the ability to move through and across sound spaces by navigating with the arrow keys of a computer keyboard. Movement through and across virtual space becomes a means of making music by drawing-out sound. The range of hearing, or "acoustic horizon" (Blesser & Salter 2007), is represented by the circular, blue-gray cloud that appears on the screen. When the acoustic horizon overlaps a sound space (or spaces), the space(s) become audible (see below) and the triangle changes color from black to red. At that point, proximity modulates the overall presence (volume) and position (pan) of a space within the acoustic horizon. Depending on location within the available territory one may be able to hear several spaces at once. The study featured four different ways to approach the same musical/interaction concept:

Listen to the Duvet maze example:

Listen to Guy Debord Paris dérive:

Play Composition-Instrument Study I online