The work dwells around a physical matrix of 192 motor-driven fans activating sheets of common stationary paper along a two-dimensional grid. Acting as a sort of pixel-based video image synthesizer or display, the matrix permits the specification of a rich and complex interaction between sound, video capture and performative gestures. The voltage of each individual motor can be controlled separately, allowing the horizontal position of each sheet of paper, thus the representation of any sort of “crude” images.
On another level, the work draws its material from three sources a priori exterior to the world of sound: paper, wind and time. The music, coming from improvisation workshops, seeks to celebrate the sonic properties of these materials by being oriented towards noisy environments, where pitches are irrelevant. Finally, the work inherits from a strong appetite for overloaded sonic environments, where the auditor's attention is strongly sought.
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