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A MIC
Belgrade
post-war urban noises are picked up by an open on line microphone and
streamed live. The microphone is positioned in very rudimentary coordinates,
collecting everyday, around-the-clock artifacts of life. In parallel,
an automative sound software in Linz plays an endless random composition
created from samples recorded during the war time in Belgrade, including
bomb blasts, sonic booms of jets breaking the sound barrier, emergency
sirens, anti-aircraft fire, missile hits and misses.
The two streams are mixed into a third; a virtual sound socio-environment
which bounces between two extremes. A fragile balance between war and
normality comes to the surface of the subtle overlapping.
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