Metagarden
Exploring liminal sound spaces inspired by composer Gérard Grisey's theories, my thesis project aimed to evoke psychoacustic transformation through natural soundscapes.
Departing from traditional musical forms, I employed advanced synthesis techniques to create artificial counterparts.
Drawing parallels to Jacques de Vaucanson's automaton, I examine the Uncanny Valley effect in sonic narratives.
Structured as a 15-minute performance, the audience experiences a journey through three phases of a rite: segregation, liminality, and reintegration.
A multichannel system envelops listeners, an immersive experience that prompts reflection on contemporary issues like the Anthropocene's technological paradox.
Project Overview
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To simulate diverse soundscapes,
I programmed a Max/MSP player controlling playback intervals and volume fluctuations.
Random indexing selects sounds from folders, with loop options for continuous playback.
A file management system distributes sounds across channels, while VCA controls manage mixing and aleatoric fluctuations.
A Spatialization module directs sources with programmable trajectories, incorporating rest functions for realistic movement pauses.
Spatial transformation between scenes is enabled by a recall system interpolating parameters.
Utilizing a KNN panning algorithm ensured spatialization without a sweet spot dependency, offering speaker control in source movement.