"Hypertexture" is a composition written for the video layer and quadraphonic electronic setup. It tries to simulate tinnitus audio sensations and mix its distorting shape over the sonic and visual layers with the most realistic result that can be developed. "Hypertexture" explores sonically the potential of the artist's inner ear phantom noises to create timbrally important sonic landscapes and draw a certain psychological profile for the subject of simultaneous belonging of noise in art and life of the composer.
The music material originates from several sources:
- white noise generation and filtering;
- using prerecorded and transformed sounds coming from the artist's surroundings - sounds of the electric razor, boiling the water, the constant noise of ventilation, or the sound of heavy rain in the back yard;
- specific 24-TET analog synthesizer arrangements in a high pitch ordering, "borrowed", or rather to say, "inspired" by the sonic research conducted in the previously written composition "Isorropia. In search of balance".
My goal was to use the sound material that could most adequately simulate the phenomenon of tinnitus in music but still possess the highest artistic quality and sensitive musical narration of all the nuances that this phenomenon brings with itself. The reason to use white noise does not seem to need any additional explanation. Implementation of prerecorded surrounding sounds from my household somehow underlines the personal experiences by putting me inside the artistic process. It signifies the timbres and noises that accompanied me during this year and created acoustic space around me. Certain stress is put on the type of noise transformed - all mentioned above sound sources represent long-lasting, drone-like structures of bigger or lesser intensity. However, transformed into electroacoustic material "chunks", their intensity and volume can be the subject to a radical change in perception, highly manipulated or completely contorted.
Finally, the 24-TET arrangements derived from the specific analog synthesizer settings, used previously in the compositional process of making "Isorropia. In search of balance", were very important for me to find a place in "Hypertexture". As the reader probably knows by now, composing "Isorropia [...]" found me at the most critical moment during the start of the pandemic. Bringing a tiny bit of the sound space from this piece into the new electroacoustic work, so closely connected to the experiences from the first pandemic phase, has a personal significance and gives me a certain type of closure at the end of 2020.
In terms of formal construction of the piece, music has a form of an arch - it slowly emerges as a highly resonating, noisy, but of constant intensity, material. Very delicate, irregularly rhythmically distributed clicking sounds (like the low pitch clicking inside the inner ear) reappear from time to time, distributed spatially from each speaker. The material develops slowly and repeats on the border of tiredness - as the monotonous character of tinnitus continuous lasting does not allow for the radical change and spontaneous introduction of contrasts. Whilst the high note pitch constructions intensify, and the white noise movement intensifies, a long low pitch enters aggressively (the video content will be analyzed in the next section of this article) at 2'00'' of the music. The harmonic shape of music begins to intensify and change. The sound dominance and dynamic increase of the high-pitch clusters begin to rise towards the unpleasant level on the border of pain. The same thing happens during the intensified tinnitus presence when the nerve receptors trigger the human brain and send the signals that force the brain to transform and interpret the information as the sound signal. The sound in "Hypertexture" rises dramatically and bursts with its climax intensity - but not radical sound change - at 3'32'' of the composition, accompanied by one bell-like hit dispersed in the sound space. The timbral mixtures develop slowly as I try to introduce the materials by gradual reemerging of sound structures from the previous timbral settings. After the gradual intensification and dynamic rise of all music materials towards the unbearable noise, the slight cut in 4'57'' marks a slightly changed type of timbral structure. However, the dynamic level does not drop down, and the rise of the white noise, high pitch whining, and clicking end abruptly at 6'02'', followed by several seconds of silence. That was the only way to finish the composition for me, as tinnitus does not fade away, does not give up, but can last forever. Cutting the music marks only finishing the composition, maybe philosophical winning over the condition, but not cutting it out from real life. The importance of the music's quadraphonic setting also has a significant meaning, resembling the harmonic space of the listener's head. It enables one to get inside the head of a person fighting with a tinnitus problem. In this way, I could share the sound phenomena, which occur in my head, with the other listeners.