After actively, deeply, focussed listening to the recordings for Blue, I had an idea for a new sound composition. I noticed something quite interesting when I started to get deep into the sound material - each recording had an ambient hum, something textural in the background. It was traffic/electricity/distant sounds. A mass of sounds making up a constant sound. I thought about drones then, and how these sounds possess dense and complex sonic textures. They are human, but disconnected, also quite beautiful.
Last night, quite late around 1am, I was sitting in the backyard having a break, and again that sound. The neighbourhood was quiet, but there always remains that hum of a city - cars in the distance, a mass of infrastructure creates a constant texture.
This got me thinking about ways I could use these sounds. To create a tonal drone piece highlighting these incessant sounds that seem into our peripheral hearing without us noticing. Listening gives us the power to notice.
A map of sorts could be interesting. A drone map of Melbourne. I could recording durational field recordings over night from different locations in Melbourne. Then use equalisation to pull out the tones and draw attention to the different pitches from different areas.
The work would intend to encourage people to listen more deeply to their surroundings. It could be coupled with a listening experience of some kind. Again, i don't think it makes sense for this work to have a duration. I'm talking about constant sounds here. These sounds change slowly, but are always present. Tying into Cage's idea that silence doesn't exists. There are always sounds in between.