sixth session: june 18 and 19

During these two days I have continued to improve the illuminations. It seems that the sound situations that work best are those in which two or more frequencies are very close to each other. Then the acoustic space produces a diffuse sound field full of tiny sound undulations, in which the frequencies are exchanging their protagonism. These undulations are even more accentuated when applying sound-space density variations to each frecuency. These two strategies together seem to produce an extremely dynamic and interesting sound, because although it remains the same, is perceived with constant variations of intensity, spatial density, and microtonal modulations.

Why does using closer frequencies produce richer sonorities? I can think of several reasons. On the one hand, it is a well-known acoustic phenomenon that the superposition of different frequencies naturally produces new frequencies, which in turn produce new frequencies in an infinite chain process. It seems that closer frequencies interact with each other more intensily compared to using more distant tones, and at the same time the perception of these interactions seem to be louder. On the other hand, we must consider the acoustic space itself, which, by creating millions of reflected sounds, allows the sounds to meet and interact again and again. And finally we must also include the illuminations themselves, which present the same sounds over a long period of time, favoring these inteactions to occur over a longer period of time.

I have therefore revised all the illuminations, changing some frequencies so that they are closer to each other. It seems that, in addition to creating a richer and more dynamic sound, these new illuminations allow the space to create diffuse sound fields of great depth, that is, to build an acoustic horizon in which listening seems to find no limits. Looking aurally into the sound, it is very pleasant to constantly discover new details, new surprises both in the foreground and in the background.

Since using these new strategies sound is more insteresting, it is possible to remain in one same illumination for a longer period of time. This new scenario allows me to maintain even more firmly the initial idea of presenting the 12 illuminations during the 24 hours of a day. I myself have experienced the pleasure of keeping an illumination sounding for a long time, entering the sound-filled space of the ossuary, staying a while listening and looking at the frescoes, leaving for a while and entering again. In doing so, I realized that both the contemplation of the nature around the ossuary while hearing to the landscape sounds, and the contemplation of the frescoes inside the ossuary together with the sound illuminations, seem to evoke very similar acosutic, spiritual and emotional experiences.

to seventh session: july 2 and 3

back to charnel house in Perschen