WORK > PERFORMANCE/NSTALLATION

Threshold
[magnitude or intensity that must be exceeded for a certain reaction, phenomenon, result, or condition to occur or be manifested]

We stand at the edge of the abyss and see nothing. Our mind is consumed with the possibility of never comprehending the division of the “void” and what we think is the Real. The Lacanian Real is that which slaps you in the face just to mutter its existence making us wonder if we even realize what a slap is. All feeling and emotion by breaking that contract of “symbolic order” have no bearing on the experience of the moment between moments, and the gap of the moment between the moments. Perhaps this is what Cage meant when he spoke about nothing, or Duchamp when he wrote the “gap music”. The “threshold” is the space between space, and the time between times. It is the doorway: An entrance into something new and the exit to something new.
When one walks into a new space ones brain and mind is constantly making calculations as to what is happening from all parts of an environment. Understanding ones surroundings is part of our core survival instinct. The human’s ability to fight or flight is based on a few of our primary sensory organs: sight, hearing and feeling. Where humans can feel warmth via the transfer of light into heat, sound and vibration encompasses our ability to localize a sound-source. Because we were once prey, low frequency energy, perhaps from the large footsteps of predators, are a reminder of what we once tried to elude.
Outside of abstract concepts associated with this piece is the physiological truth about how our bodies react to sonic information. The breadth and depth of our hearing mechanism is many times greater than that of the eye (the loudest sound we can tolerate sounds about 50,000 times as loud to us as the softest sound we can hear). The threshold of sensation of a sound is registered in the fractions of decibels or (20 micropascals at 1kHz) ranging up to the threshold of pain, 160 dB spl. Sight, tends to be fabricated by our brain without any wide ranging focus, whereas the ear has no immediate filter. The slower-moving mass of waves particles from the propagation of compression and rarefaction allow for the saturation of information, triggering sensations of space and depth, localization and spatial construction. Almost as if by osmosis our brains are processing the sonic information upon intake, translating and disseminating the acoustic waveforms into cocktails of electrical and chemical impulses.
Day to day most of us are constantly blasted with the sounds of mobile devices and modes of transportation. For this reason I found it is necessary to create a project that both questions what we hear on a daily basis, and brings to attention the subcutaneous sounds of our existence. Threshold is concerned with examining the boundary of what is just below our usual attention to hearing. It is focusing on the possibility of our unconscious mind, typically being adrift, snapping back into fixed audibility and conscious thought.
Stand in the black room.
Listen.

Threshold #1
Threshold #1
Sound Installation
2010