[ Deutsche Version ]
Living in restlessness. Impelled by stimuli, always compelled to activity, to communication, to a projection of the putative self. A consciousness simulating itself rotates in a relatively motionless body.
Horror vacui is performed by a virtual ensemble of sound-producing and sound-reducing instruments.
Traditional instruments producing sound waves - including recording and editing equipment - are accompanied by the necessary instruments of the 21st century: sound-reducing silencers.
In Horror vacui, electronic tools such as filters, compressors, and echo effects are used to diminish produced or found sounds; the sound design is characterized by reduction rather than by manipulation.
Just like curling waves, or the endless spiral of a waltz, sound-increasing and sound-reducing instruments take turns in dominating the piece.
Horror vacui compiles original sound recordings from a trip to the United States of America, sythesizer and piano, Bulgarian percussion, as well as impressions from mass media - these are counterpointed by an equivalent group of sound-reducing tools.
The beginning and the end of the sound recordings have each been captured in photographs, e.g. New York, one of the loudest cities of the western world.
Thus, the often cited visual overload is experienced as a fraction of a sonic overload.
Technical transmission and the congestion of all of our ears forces music to its knees - to take on a clear attitude to submission reflecting the known and which (due to this) can be quickly grasped, even unconsciously.
As a great love to www.porno.com, the apprehension of a musical sensation is to its emission listened to on the motorway.
Our addiction to noise possibly comes from a need to drown our own, inner noise level; the person who is capable of resolving white noise into polyrhythms, and who can discover wonderful symmetries in a city's noisy bustle may regard him/herself as individual of a new age.
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