My ability to enjoy this piece was diminished by what must be a frequent hazard of public ambient music consumption: a couple conversing loudly in the exhibition space. But I was able to listen for several minutes to “Dance of Fire,” a composition by Erdem Helvacioglu made up entirely of samples of fire whooshing, crackling, and sparking.
My knowledge of electro-acoustic music is limited, so I’ll just observe that the piece reminded me of listening to Curtis Roads’ Point-Line-Cloud, an album created by entirely synthetic means. Despite the electronic origins of the pieces, the effect of listening to either feels deeply primitive, even organic—inducing a feeling of excitement verging on foreboding.
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