leescottnewcombe

The second work in the Hell of the Same series is an intimate encounter for one visitor at a time. The experience aims to disorientate and engulf the senses with densely throbbing beating patterns emanating from the anemoi. The sonic intensities are combined with a beam of light directed at the central zone, blocking out any peripheral vision.

 

Although a personal encounter, we live in a world where we are permanently on show. Other visitors can witness the reactions of the person in the central zone, effectively making them the performer.

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All the Time the Buzzing takes its title and influence from Samuel Beckett’s dramatic monologue, Not I. The work realises a sensorial representation of what it might be like inside the skull. Notions of the interior on display are paramount.

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In this work the manuals of the anemoi are represented through five speakers configured in a circular formation, evoking the imagery of an enclosed, ritualistic space. Visitors can move freely around the spatiotemporal environment or position themselves in the central zone to experience the immersive and relentlessly morphing sonic flux.

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Here we encounter the continuous metamorphosis of sequential major 3rds, a slow evolution generating rapid changes in tempi. These sequences are articulated as four-note chromatic clusters. A four-stage transition is utilised to create the harmonic movement. 

 

Durational pitch values are uniform throughout All the Time the Buzzing, with each sustained for four beats. Each represented manual of the anemoi has a specific attack point in each bar. This arrangement creates a variety of rhythmic variations throughout the work. The processual pitch becomes a spatialized revolution as the sequence revolves around the physical layout of the speakers.

 

All the Time the Buzzing exemplifies the vigorous rhythmic shifts forged by sustained pitch and asks the visitor to consider these compelling interactions of tones within this claustrophobic environment.