The musical research that I have undertaken goes beyond man's "point of listening" (instead of "point of view") to experiment what could be defined as the machine's "point of listening" (the aesthetic of the machine). Therefore it is an aesthetic that privileges a "beyond-feeling", the meeting with the "outerness", with the "totally-out".
The audio frequency field of this work is beyond the possibilities of our "perceptions"; it is in fact in the range of the "ultrasounds" (up to 20kHz) and the infrasounds (down to 16Hz). Throughout this work the sounds were generated at the maximum volume available for digital systems (0dB).
Therefore this composition is totally full, saturated, without dynamics, with a volume level consistently turned up to "fortissimo" (classical notation), just outside the range of human perception. What remains for our hearing? Only silence? However all that we perceive in this work is entirely the result of what has been discarded, the driftage, the limits of technology and our auditory apparatus; anything that springs out of those interferences, from those collisions, the clashes of those hyper-frequencies, their results, the difficulties and the noises of the sound-reproduction system (amplifiers, loudspeakers, filters, etc.) actually produced by the surrounding space (those objects that vibrate), our very own auditory apparatus and body (often it is not our ear but our whole body that feels and vibrates).
This work could be defined as the "place of paradoxes", the place in which "limits" transit and collide.
Inversion: in this composition, emptiness and silence are the consequence of the total fullness, of the "totally sonorous" (even if beyond our hearing possibilities); in contrast sounds, signs, traces of those, are entirely the result of the instability of the "totally-full", from its collapse, from those results, from the marginal effect of these "depressions", from what is discarded, from the turbulences. Finally we can confirm that here we are listening to the results of "absence", of the "emptying" of the "sonorous", of its "non-result".
Interactivity and invariableness: this work, which seems to be an "Art des sons fixes", an art of the medium therefore always equal to itself, here it becomes "event", "open work", interactive, "aleatory"; it is in fact totally variable, depending on what the listener chooses as even turning the head slightly is often enough to experience changes in what we hear; it depends on the place, the objects in the room, the environmental characteristics (the impact and reflection of these unheard frequencies create totally different effects), from the system of reproduction and how it is regulated (deliberatedly controlled or unconsciously affected by the listeners) and also from the anatomical-physiological characteristics of the listener (the extreme characteristic of these frequencies allows a subject to listen to a hiss or a loud sound and for another subject to listen to total silence).
Concrete-electronic: in this work it is possible to listen to concrete waste, to the left overs of audio material of a totally synthetic nature. Therefore, this work sits on that border, within an enigmatic trace, on the border between two paradigms; in effect at the same time it answers to a radical "concrete" logic and one of "electronic purism".
Therefore, a pure "objective" sound (a simple "sinusoidal wave"), purely inorganic, inexpressive, beyond-human, a sharp, metallic object, that can also hurt, a totally "extraneous" sound (an extreme-experience, sometimes toxic, harmful, but not only for man, but also for the machine).
Well, what we actually listen to in this work is the meeting (clash, collision) point between man and his technological extension (amputation); this leads us into that listening zone, shady and disturbing which, ultimately is not only within both the mind and thinking, but also a product.
Even the resulting audio wave images in this work are very anomalous. The normal audio waves visual system of reproduction... collapses... breaks down. The coordinates logic systems are not longer valid...the readouts are no longer legible. The algorithms are completely unreliable... unfounded... they only tell us of an other world...beyond our mind.
Elio Martusciello
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