Miser

Virtual Breakout During the Outbreak June 6th Livestream

Virtual BreakOut During the OutBreak Videos [VBODOBV] IV

Stimulus Progression of Automatic Behavior

the idea that one should create a composition entirely of unintended sounds captured in the moment is at once completely absurd, but simultaneously ingrained in our current interconnected (remotely now), mirrored in the ubiquitous process of Google’s Streetview public-good surveillance program and its ilk

we set out with essential portal opening tools and a frame of mind

opening the mind and opening the void are one and the same, the eye sees itself in this moment

the crossroads is a conduit which permits two ways of life to not only intersect but allow one to venture astray and explore circular paths not readily apparent, and is why performing a ritual at the crossroads is the traditional way of opening a portal to the void

John Cage said that 0’00” should be read as either time or distance; treating time as distance clarifies the composition as only a GPS route and allows an event to stand alone as ritual

there is a beginning, middle, end

window/portal/void

we’ve unintentionally captured it with intent

senseless
composition
silence
intentional
absence
unintentional
farce
creating
ultimate
abstraction

---

Proposed work as accepted for soundpedro 2020:
Roadside Attraction

Roadside Attraction consists of an array of 4 parabolic microphones, mounted in an emplacement, facing a zone of sound sources. The zone is a field populated with objects which have potential to or are creating sounds. This ecosystem of sound generators contains some mechanically self-playing, some wirelessly or wired signal transmitting, and some waiting for a performer. The sounds emanating from these objects in the field are captured by the 4 parabolic microphones, which are mounted on swivels to facilitate focusing sound and collecting the signal generated by distinct sound generators. These captured sounds are routed through a mixer and PA sound system, with additional modulation, filtering, and treatment from Miser, resulting in a mix which the parabolic microphone operators as well as any passing visitors may audition. Finally, the zone itself may be entered and explored at will by visitors, allowing inspection of the sound generators directly, as well as performance of any of those objects which only create sound when played.