I firstly dragged my long clips of improvised no-input mixer into a new Reaper session as well as importing a silent version of the film. I had gone through the film and added markers where I thought significant events occurred visually such as a change of space, a turn, a pace change, a new element, a cut… I listened back to and worked through the recordings cutting out bits I thought I could use or cutting around bits I thought I couldn’t and seeing/imagining where in the film they could fit. I however began to realise this process wasn’t very fruitful as trying to sync perfectly to the film didn’t work very well and I had not much time till I had my session booked to spatialise in the performance lab.
Therefore, I embraced some randomness like in the recording stage and tried placing clips on top of each other without much thought in relation to the other noise and the film. This surprisingly worked well and created a gradual build up which gave the piece some much needed shape though admittedly quite relentless. I found that the beating and pulsing didnt have to occur throughout, as well. I also thought less about cutting and sampling and used raw longer clips even playing for the whole film for background noise (I had improvised to the film after all). This also gave the more foreground noise something to bounce off of or pop out from this became useful in the spatialisation phase too. This superimposing is reminicent of Ito’s technique of projection of the face on various wall surfaces. Sometimes the image appears warped which I hope to have represented with the sound as well.
I made sure to still follow the markers I had set just so there is some change or addition in accordance with the film ensuring this was still something to listen to along with the film. In the thinking stage of this composition I did think about creating the piece then removing the visual to leave just the inspired sound but I felt as I went more conceptual it was important to keep them together as companions.
