“Nautilus” is the first in a series of works based on an electroacoustic instrument I have named the Larsen Harp. The instrument is based on two hand-built oscillators which channel audio feedback (i.e. the Larsen Effect) through various damping materials such as cork, wood, and metal springs. Due to the extremely volatile and context-specific nature of audio feedback, the instrument generates a constantly shifting array of sound textures which respond not only to the acoustic qualities of the architecture and materials around them, but also to activity in and around the installation space, as well as changes in temperature and humidity. The idea behind the instrument is deeply rooted in the idea of exploring the behavior of sound in space through homemade electronic systems, and was inspired by the work of composers such as Alvin Lucier, David Tudor, and Gordon Mumma.
The “Nautilus” composition is based on the concept of using vibration and sound as a means! of tracking and representing cyclical patterns of relative activity and inactivity, and/or stability and change which might otherwise slip beneath the perceptive radar of the unmediated sensorium. Two oscillators were suspended between the ceiling and floor of my studio space, and were left running for the duration of my regular working day. The composition is based on content from the first three recording sessions, and post-production intervention was limited to the manipulation of pan, equalization, and amplitude.
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Acosta, Arsenault, Ashton-Beaucage, Barrette, Basanta, Beaudoin, Bergeron, Bond, Bowles, Boyko…92 tracks