“Not Wanting to Hear Anything About John Cage”
by Kristian Derek Ball
Here is the aural presence of simultaneity
The presentation of 3 physical spaces is being extended through the synthesis of 2 or perhaps an infinite number of spaces or (gaps to reference Duchamp) through the experience of “multi-spaces” or the variable of the ever-present “now-space”.
Aural multiplicity breaks down the concretized space into versatile layers of change between the actualized space. As one moves through between emitters, the auditioner may listen to both of the 3 individually miked spaces and the blending of the 3. The rotating location of space 1 and 3 allows for the observer witness a daily changing space along with transposition of the piece as a totality. Proximity shift causes the creation of new space. As one moves between speaker placements, the new acoustic space transforms even by moving in small increments
This environmental sound installation acts as an interface for experiencing sonic multiplicity through the acoustic blending of three different aural spaces. The variable location of 2 floating wireless microphones, which rotate daily by the implementation of “chance operations”, may move to 2 of any of the 400 potential placements in Zoellner Arts Center indicated in the graphic above. The third microphone remains stationary in the gallery space. These acoustic spaces are emitted through the 3 overhead speakers located at the doorway to the main gallery and two other doorways of the inner gallery.