In this session I explored the GRM Spaces plugin within 8 channel fully for the first time. By developing an understanding of the various spacial parameters of the software, the aesthetic possibilities of the sound system’s format became apparent – as well as the practical challenges I may face.

Following this, I began to consider the kind of sound I want to create and how and where these elements will exist in a physical space. From the examples of surround sound pieces I have heard so far, I feel that I will keep any larger, drone-like material to the outside of the room, vast and encompassing. Closer to the listener, I would like smaller, fragmented elements that would occasionally scatter around the environment. I feel these fragmented elements should also have an acoustic quality to them. Smaller, sporadic acoustic sounds (particularly the voice and wind instruments I have noticed) seem to be incredibly effective when played intermittently.

In a way, I imagine the layers of sound and its moving parts as though they were similar to an atomic model – rings of sound shells, with smaller acoustic elements caught in their orbit, swirling and brimming with energy against the slower, firm waves of drone.

While considering this cyclical structure of sound, I was reminded of an artists work , ASUNA’s site-specific installation, 100 Keyboards, of whom I am continually inspired by:

While not covering any near as many dimensions as a surround sound format, the deliberate placing of keyboards in a circular format positions the listener inside the sound source. Here, an acoustic sound field is produced through a “weaving a textile pattern” , meaning that as a listener moves they encounter different, varying points in the circle. Because of this, each audience member interacts with the exhibit in their own way (the installation also invites listeners to lie down). This sense of audience participation, and of creating an experience unique to each visitor is something I would like to pursue in my upcoming work.

Next, I need to consider the relationship between frequency and where they are best placed in the surround sound format.