an imaginary sound of ink paintings - Press Releases - Media - HKU
An Imaginary sound, or a sound of which the cause is not seen
This model was abandoned early on and the realization took a sharply different direction. A later version of the same outline of the six parameters (transcribed in Figure 2) lists only two possible values for each parameter: simple or complex. This in effect removes the concept of measurement from the piece altogether. The six parameters are no longer conceived as continua in which linear measurements are made. Instead they are binary variables capable only of switching between two discrete values. Exactly what was meant by "simple" and "complex" is open to discussion, and Tudor's own comments are not consistent in this regard. I will address this in the third section of this article when I address Tudor's performance of the piece. What is most important to note at this point is that Tudor's simplification of the measurement system to a binary choice takes the notation of away from Cage's conception and into a wholly unexpected realm. For Cage, the sonic parameters were analogous to the dials of an imaginary sound synthesizer; Tudor's "simple/complex" switches represent a different interface between the musician and sound, one that includes the "black box" of the amplified piano inserted between them.
I hear (an imaginary sound the character might hear)
He spreads his arms wide and gestures to an imaginary sound engineer, bobbing slightly to the beat. “And it was like an explosion, people were like ‘Yeahhahhah!’, and then they get some adrenaline… and that’s why I started to dance.”
A Way Out by Knowing Smile is an imaginary soundscape, a trip in two parts. The first part, as well as some of the sounds featured in the second part, come from a live improvisation performed by the duo at Walimat Wardeh, Beirut, in June 2010, as part of Serge Yared's Greedy Ears series. Fadi Tabbal recorded the session. The rest of the material on part 2 was recorded during practice sessions leading up to the Greedy Ears performance.Simon Longo began with an introspective study into synesthesia and principles of neuroscience, conceptually experiments and exploring field theories and information theories to inform a system for the performance of real time audio-visual synergies. DITHERNOISE proposes a shamanic perspective mediated through the digital medium, the audiovisual process in all the performances is improvised in real time and the playback is specified for the particular performance space. DITHERNOISE draws on an imaginary sound-canvas as a result of intuitive artistic gesture, the approach to rhythm is experimental and non-linear, the performance aim to create a coherent flow or mass, metaphorically informed by fields theories and the concepts of a wave-like nature of matter. Cross-modal rhythmical structures are generated by the simultaneous experience of aural and video information associated on the fly according to subjective syneshetic intuition.