In times where our physical and a virtual reality mix together in almost absolute dichotomy, where visually documented memories get archived in clouds, where movement becomes mapped instantaneously by programs that statistically know our composition – the sensual experience of place and time has become utterly fragile. Going somewhere does not necessarily require us to move, and more than ever we are able to create illusions and reproductions of experiencing a sense of place through technology. Living in a world more and more dominated by visually transmitted information, I chose to work with sound as my space investigating medium. Unlike our vision, our sense of hearing is not as trained and thus functions unambiguously explicit. By separating sounds from their visually perceived cause, I ask recipients to compose in their minds the complex space it belongs to.
The work is creating an experience that offers the recipient to sensually explore a place (Glasgow Cathedral). The composition of the recored sounds offer more than an auditive reproduction of the cathedral. The three movements; Outside-Entry, The Nave & Quire Space, and Exit, the recipients are exploring and oscillating between the real and imagined. A Symphony of soundscapes is being composed, transcending a space into an immersive sensual experience beyond the boundaries of a physical confirmation of a place. This symphonic soundscape becomes an overture for a new way of perception; one transcending our society’s obsession with the visual, entering our consciousness through sounds.