Null Point at Stay Gold
December 8, Burchfield Penney Art Center
Null Point presents WEAVE, a multi-authored, site-specific, interactive sound work. The work takes the ambient sounds of this very space (speech, footsteps, etc.) as a point of departure, subtly transforming them as a way to activate new perspectives on everyday sounds. Through recording and real-time processing, everyday sounds are altered in a variety of ways: spatio-temporal dislocation, equalization, ring modulation, delay, and more, and played back through an array of dispersed speakers.
The project aims to make a subtle yet consequential intervention into the Burchfield Penney’s ambient soundscape. The sounds contributed by the piece will be at once plausible and foreign within the site’s field of sound—they will be barely perceptible, but when noticed, may significantly disorient ordinary frames of listening. By introducing slight distortions of ambient sounds, we aim to open up ambiguities between live (embodied) and electronically produced (disembodied) sounds, inviting comparison of their timbral, architectural, and ontological differences.
The piece proposes post-anthropocentric possibilities for the human voice. Within the piece’s multi-layered soundscapes, human speaking voices are no longer conduits of autonomous subjectivity, nor carriers of linguistic meaning; instead, voices are woven into an entangled, purposeless, inefficient, lo-fi fabric—in the parlance of Timothy Morton, a hyperobject. The consistency of subjectivity and meaning evaporates within sound’s nonhuman opaque thicket. When individual voices become audible, they function less to contain the seemingly infinite acoustic landscape of the crowd but rather to focus its multiplicity, to suggest a familiar reference point from which to render audible the landscape’s scope.
Colin Tucker, voice-dross (2014) for dispersed speakers and ambient sounds
Ethan Hayden, HaEccEity / QuiDDity for microphones, laptop, and speakers
Arrow Fitzgibbon, improvisation with microphones, laptop, speakers, and harp, with audience participation
8:00-ca. 9:00 two works realized concurrently:
David Dunn, PLACE, part 4 (1975) for mobile recording devices and speakers
George Brecht, Symphony no. 4 (1963) (“Record”)
ca. 9:00-10:00 two works realized concurrently:
Mieko Shiomi, Boundary Music (1963) for nearly-inaudible sounds
David Dunn, PLACE, part 5 (1975) for two distant microphones, ring modulator, and speakers
Arrow Fitzgibbon: improvisation, instrument construction, portable recorder (Dunn/Brecht)
Ethan Hayden: installation, electronics (Dunn/Shiomi/Brecht), technical direction, programming
Colin Tucker: installation, portable recorder (Dunn/Brecht), curation