Our first sessions became a testing ground to grasp the possibilities of the location and learn about combinations of spatialization strategies, contents and approaches that could work out. In order to have more flexibility engaging with the space, we decided to use custom software tools for the project. We designed several sketches which would address the tunnel in different ways. Another initial idea is that the composition should not be totally fixed, but an evolving piece which could for example go through a series of different states during the day. We worked on that direction by programming pseudo random processes which would behave according to our decisions though never exactly occurring in the same way.
We tried out basic ideas like filling the space with volumes of continuous sound which the passersby would activate with their own movement, or instead, playing with moving sources across the tunnel. We thought it might be worth trying to incorporate some live input and listen what this could bring. Experiments were made attaching a contact mic to the handrail which goes trough the space, transforming the sound and feeding it back into the space. One of the main approaches used is also creating processes and materials departing from the resonances of the structures present in the tunnel, based on the analysis of previous recordings.
The preview exhibition was a chance to elaborate on a selection from all these first experiments and listen to them more carefully. An ongoing cycle of a variable duration of 25-45min in total was composed, with slightly different content on each repetition. In this way, we could listen to the interaction with the activity in the tunnel at different hours and the reactions of the people as well.
It is difficult to document this kind of work and we are still thinking about ways of dealing with the fact. Anyway, here there are excerpts from a recording we made on Sunday evening.
As an ongoing soundwork in public space, the piece creates different and unpredictable listening situations, particularly in the context of our one weekend exhibition. There are two types of audience, passersby and visitors. For the main and most numerous group, the discovery (or not) of the piece is a key moment and the surprise factor is what we think can make the experience stronger. We can also imagine the perception of many of them would start to evolve if the piece remains installed for a longer period, so they would be able to recognize an explore it over and over in different situations, listening more actively than they usually do. On the other hand, the visitors. They are aware of the work and bring expectations, so depending of what is happening when they arrive, they might end disappointed or actually be the ones who devote more energy to listen, staying for longer periods than any of the passersby.
For us it was great to have the installation running for a couple of days in order to appreciate it better and take some distance, being able to listening through the ears of some other people too. With the reactions we collected, we have indeed more material and ideas to work with. Now it is time to continue developing it further and listen forward for the next version of the project, which should be ready in a few weeks.
Binckhorst 