In this sculptural/spatial/harmonic composition, the precise distance between individual sound sculptures was considered as being essential so as to set up the optimal relationship between sound sources for the creation of clearly defined patterns in the acoustic fi eld. The geometric interaction of the sculptural forms and the patterns of sound that they generate, orchestrates the experience of the space which surrounds them.
These concepts were first visualised through the construction of a series of drawings/diagrams that sought to map the nature of the interference patterns that the arrangement of forms and notes would possibly create. These diagrams not only became an important tool in the conception of the potenti al soundscape in a visual and spati al way, they were also particularly informative in the way they expressed the intensities and dispersions of the sound field.
Through the gestalt of the visual patterns generated, the diagrams acted as a way of illustrating how the mixing of nodes and anti nodes creates various amplifications, cancellations, beats and composite affects within the sound field. The diagrams also highlighted the need for a degree of acoustic isolation of such a sound field, as its affects work more clearly as one enters the perimeter of the resonating forms but could be destroyed by reverberant conditions of the surrounding space.
Through these considerations it became clear that the relationship between a carefully composed sound source, its qualities when interacting with resonant sound sculptures and the acoustic conditi on of the space it is situated within, is a symbiotic interaction in which all elements need to be considered and finely tuned. |