The reverberation of the burst, its temporal dispersion into discrete echos (lower order reflections), which after a short time (< 100 ms) form a dense reverberation decaying exponentially in amplitude, can be understood as a complication. There is no more information in the reverberated burst than in the dry one. But the relevant information (here the charateristic pitch of the billiard collision, which is determined by the material and size of the balls) can be perceived easier through the complication.
I wonder to what an extent such an approach can be generalized and used to explore certain features of structures through forms of complication rather than simplification or abstraction. Or do we have to understand the complication, which lets appear certain features better (and others worse) as a king of filtering and reduction – reverberation being a kind of convolution (i.e. filtering) in the end?
In the CoS project the practice of in-situ composition has been established. It consists in creating the work in the performance venue (and not in the studio) in order to be able to work with the interaction of the material with the venue, essentially the acoustics of the room – a particuar form of complication. Being able to choose, transform and arrange sound material under the acoustic conditions under which it will be experienced by the audience allows to create highly site-specific work, focusing on the interaction of the material, the composed processes and the site.
Applying this strategy to audification should be tested, both using the many speakers in the Ligeti hall as well as the icosahedron speaker at IEM, which has 20 individual speakers.