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materiality
sine tones and tuned noise
duration: open, level: very soft
2 - 12 channel generative sound*, 2011-2012

stereo version as stand alone application for Mac OSX: application and notes
notes: as pdf

"Such, then, is the bland sound: an attenuated sound that retreats from the ear and is allowed to simply die out over the longest possible time. We hear it still, but just barely; and as it diminishes, it makes all the more audible that soundless beyond into which it is about to extinguish itself. We are listening, then, to its extinction, to its return to the great undifferentiated Matrix. This is the sound that, in its very fading, gradually opens the way from the audible to the inaudible and causes us to experience the continuous movement from one to the other. And as it gradually sheds its aural materiality, it leads us to the threshold of silence, a silence we experience as plentitude, at the very root of all harmony."
- Francois Jullien, In Praise of Blandness (2004, pg. 79)

notes:

a chord, slowly shifting every 20, 40, or 60 minutes by a small ratio alternates with white noise which is band filtered at a frequency contained within the chord. these phenomena persist, softly, in the environment for an open duration of time, immersive but not dominant, settling on the outskirts, constantly shedding aural materiality, perhaps not even noticed.

this piece is generated in real time.

dynamics are programmed into the piece, but site specific adjustments to insure a proper balance between the piece and the ambience of the site of performance should be made so that the piece does not consistently dominate the space.

the level should rise in and out of the ambient space, as it contains some parameters for dynamic range it will occasionally be more and less audible but it should never be an overriding presence in the acoustic field for a sustained period longer than five or ten minutes.

adjust the master level so that the tones sit at the threshold of audibility and are easily obscured by outside noise (a passing car, wind, voices in normal conversation), but in stillness remain ever-present.

speakers can be of any size and placed anywhere in the listening space.

the piece can be installed indoors or outside in the open air.

bryan eubanks, 2011-2012

*a stereo version of this piece was released as a stand alone application, which unfolds generatively in real-time, on the Eulachon project in April of 2012, it can be downloaded at the projects website