HHR: Initiating Questions

Foregound / Background

If thinking about sound as gestalt; can we distiguish foreground/background, and how would they relate to your sonic intervention (through speakers) within an existing sound (the sound that is already there in the space)? What then constitutes foreground/background, and are these statically assigned positions?

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Spatial Relations

What is the inner space of the piece, and how is it related to its surficial form, the two lines of speakers; what is the spatial relation between the inner form, the surficial form, and the spatial form of the visitors?

{function: question, keywords: [space, form, speakers, visitors], group: spatial-relations}

Reverberation

The role of reverberation; its causality versus an inner reverberation (radiation, vibration) of things, movement, people. Is it a volume, a form, accidental, reflection or complement? Does that become part of the piece?

{function: question,  keywords: [reverberation, movement, vibrations, form]}

Persistence

How does the piece "live" through time; what kind of memory does it have, is there a form of long term state or temporal dependence? Is there an element that survives past a daily restarting of the computers (is there an internal difference between the first and the last day of the exhibition)?

{function: question, keywords: [persistence, memory, state, time scales]}

Simultaneity

How would you conceive the simultaneity between the four layers; where are we on the continuum between a mutual fusion or penetration of all things (John Cage), a suspension and freewheeling of the relations, and the encounter in nearness that shapes all things (Sara Ahmed)? How could the composition facilitate such simultaneity?

{function: question, keywords: [simultaneity, fusion, penetration, encounter, proximity], persons: [John Cage, Sara Ahmed]}