grrawe – a sound-composition for 8-channel ring and an icosahedral loudspeaker / 10’37’’.
A collaboration between Franz Zotter and gksh.
For a couple of years only one inhabitant resided there, and also he was only rarely at home.
The composition tries to investigate the sculptural presence of 3D sound objects.
How can we compose and reproduce the “musical counterpart” in space?
How can we help the plastic sound object to emerge?
Vers01: 8-channel loudspeaker ring composition.
Vers02: The composition was then tranferred to the IEM icosahedral loudspeaker (IKO) trying to gradually rebuild the spatial formations perceivable within the loudspeaker ring.
The IKO radiates sounds into space in directions freely adjustable all around. Hereby, it simultaneously aims at improving the quality of technical realizations of both acoustic measurements and the holophonic reproduction of natural sound sources. Progress in the development of its “high-fidelity” required for the use of the icosahedral loudspeaker as a technical and musical instrument was initiated when Gerriet K. Sharma joined a collaboration on his piece grrawe with Franz Zotter.
During this collaboration, the development of the icosahedral loudspeaker was challenged by the requirements of the artistic work, which was also in progress, and could be tested accordingly. The results of these “inquiries”, in turn, could be considered in the development of the composition as well as the loudspeaker. On the one hand, the properties of the icosahedral loudspeaker were investigated considering spatialization, spatial organization, and directions of sounds and incorporated in the spatial sound-composition. On the other hand, the fidelity and the stability in operating this instrument evolved gradually during the collaboration.
The composition raises the question of the self-localisation of individuals in their (sonic) environment or world.
It is a continuous play with the perception of movement, distance and perspective.
Where is the composer, where is the listener?
Who is the composer and when does “world” come into being respectively when does it withdraw itself from the composer and or the listener?
Can we look forward to finding an answer?