My latest university module, ‘Stories and Spaces’, requires us to create a live projection-mapped exhibition using the new Fusion Building on Bournemouth campus. The required content is definitely the most abstract we’ve encountered so far on the course, with the brief asking us to create a visual and aural experience based on the words fluidity, macroworld, and microworld. Normally I would be heavily involved in the visuals of a project, but this time I decided to challenge myself, and take on the role of Audio Producer. Sound is something I’ve been wanting to experiment with for a while, but I’ve been waiting for the right project. ‘Stories and Spaces’ requires the most interesting audio role I’ve encountered.
Musique concrète, which was pioneered by Pierre Schaeffer in the mid-twentieth century, is a highly experimental technique revolving around the idea of acousmatic listening. Acousmatic means a sound can be heard but not seen, so the visuals are not directly linked (like playing babies crying over Rick Astley, but less horrifying). In doing so this removes the original meaning of the sound and creates a new one. This idea of transforming sound in order to give it a new identity is something that will heavily influence how I tackle creating content for this project. At the moment all I’m doing is recording ‘interesting’ sounds on my phone, which means I have now become excited by arbitrary things like rubbing polystyrene together and recording the result. So, apart from a possible deterioration in the fibres of my sanity, I think I’m on the right track. I’ll explore how I come to transform these sounds in a follow-up post.