C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Hirsti-Kvam, Martin: Hyperrealities 



Basic information



  • Program notes: 

    Hyperrealities is an outside piece/sound walk for a selected group of around 10-20 participants at a time, which create a type of hyperreal sound world where the real sounds of the environment seamlessly blend with pre- recorded sounds in a way where the listener have problems deciphering one from the other. The participants all wear headphones where they hear the sounds of the actual sounds of the environment recorded by several microphones placed around the environment, transmitting the sounds in real time along with all the pre-recorded material.

    Hyperreality is a term that explains the phenomenon when perceptual reality is seamlessly blended together with an augmented reality so that it is difficult or impossible to distinguish between where one ends and the other begins. Originally a term coined by the postmodern writer and theorist Jean Baudrillard, it has in the latter years been important in the development of new consumerist technology, especially since the dawn of the smartphone at the end of the first year of the millennium. A very famous and recent example is of course the game Pokemon Go developed for smartphones where the player can find and catch virtual animals seemingly “in” the actual environment through the screen of the smartphones.
    When one hears the live-transmitted sounds of an amplified environment, the awareness of these sounds and oneself as a sound producing agent is heightened. One listens to the environmental sounds in a new way when framed like this, and the interactive aspect of ones sounds actually contributing to this sound world makes the connection more tangible for an audience member. One is a listener and contributor to the music at the same time. This aspect fits the term hyperreality quite well: when amplified and projected intimately into the ears of the participants through the headphones, the sounds of reality suddenly seem even more real than normal, like the ultra sharp image of an HD TV.
    In addition to this heightening of the environmental sounds the aim is of course to create an augmented (or even “magic”) aural reality of sounds that could be there (or not) – car horns, traffic, church bells, street musicians etc. – which through careful composition can create a “real-life” Ivesian polyphony of the everyday: the steel drums of a street musician in harmony with a bypassing car or distant church bell – impossible and unforeseeable connections between the real and imaginary can occur.

  • Technical specs: 

    Hyperrealities, technical requirements:
    - 20-25 headphones (preferrably closed)
    - 2 stereo pairs, condenser microphones with cables/stands
    - 4-5 extra microphone stands (for headphone setup, see image)
    - 1 very tall microphone stand (for binaural microphone)
    - 1 binaural microphone (composer brings)
    - 1 soundcard (composer brings)
    - 1 laptop (composer brings)
    - 5-6 headphone amplifiers (composer brings)




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