Posted by: Justin Grotelueschen on June 5, 2005 07:51 PM | Comments (1)
I mustered the energy to attend the final performance, partly because I had more blogging to do and was too lazy to leave my post behind Darren's mixing board. It was a good decision, regardless of how much thought I put into it, because Emmanuel's performance is something I needed to hear. Culled from recordings of talk radio during a post-9/11 road trip in rural America, and projected through an unidentified number of cheap car audio speakers that ran wired from the board to the hands of willing audience members, the various news reporters, bleeding hearts, and right-wing narcissistic crazies (the most relevant examples of our new world) spun an insightful narrative via Emmanuel's mixing and enhanced the impact and dynamics of the field recordings and found sounds that were arranged, shifted, then pumped through Darren's unique 8-speaker output. While the voiceless sounds through the main speakers fit the playful experimental audio context also demonstrated during the Friday and Saturday night performances, the audience-handled voices best summarized what I thought to be the main takeaway from the conference: every sound piece, no matter how abstract, is driven by narrative, either created through the use of voices or represented by sound, and it's up to the producer to allow that narrative to grow within the minds of the audience. Emmanuel gave center stage to the voices -- makes sense, considering the time he invested in collecting them -- and I had my own interpretation of that particular narrative even before the performance started (in short: the media's reaction to 9/11 in the U.S. was marked by polarized opinion, unchecked emotion, shortsightedness). But the non-vocal sounds made this piece unique for me, from buzzing to undulating bass tones to static, and tied everything together quite nicely.
Since all my batteries were dead, this performance is in my head. No audio or pics, save for the photo I "borrowed" from the Deep Wireless site (hope that's OK...).
Posted by: Justin Grotelueschen on June 5, 2005 07:51 PM | Comments (1)
very nice. i hope you'll update very soon. my parents didnt told me about it: http://www.greatbuildings.com/types/types/gallery.html , Create Stake is very good Table my parents didnt told me about it , Profound Grass becomes Memorizing Player in final think that will make relief
I mustered the energy to attend the final performance, partly because I had more blogging to do and was too lazy to leave my post behind Darren's mixing board. It was a good decision, regardless of how much thought I put into it, because Emmanuel's performance is something I needed to hear. Culled from recordings of talk radio during a post-9/11 road trip in rural America, and projected through an unidentified number of cheap car audio speakers that ran wired from the board to the hands of willing audience members, the various news reporters, bleeding hearts, and right-wing narcissistic crazies (the most relevant examples of our new world) spun an insightful narrative via Emmanuel's mixing and enhanced the impact and dynamics of the field recordings and found sounds that were arranged, shifted, then pumped through Darren's unique 8-speaker output. While the voiceless sounds through the main speakers fit the playful experimental audio context also demonstrated during the Friday and Saturday night performances, the audience-handled voices best summarized what I thought to be the main takeaway from the conference: every sound piece, no matter how abstract, is driven by narrative, either created through the use of voices or represented by sound, and it's up to the producer to allow that narrative to grow within the minds of the audience. Emmanuel gave center stage to the voices -- makes sense, considering the time he invested in collecting them -- and I had my own interpretation of that particular narrative even before the performance started (in short: the media's reaction to 9/11 in the U.S. was marked by polarized opinion, unchecked emotion, shortsightedness). But the non-vocal sounds made this piece unique for me, from buzzing to undulating bass tones to static, and tied everything together quite nicely.
RSS Feed