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TWELVE SECTIONS FOR DF

by Jamie Drouin

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Paige Landers
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1.
TWELVE SECTIONS FOR DF 53:59

about

TWELVE SECTIONS FOR DF is an audio installation designed for two speakers in an empty white room, and examines the latent effects of sound.

The title is a direct reference to artist Dan Flavin, who’s fluorescent light works had a profound affect on my early development as an artist. In particular, the latent, or afterimage effect, which can be created by our sensory memory as the material of light or sound dissolves through an architectural space.

TWELVE SECTIONS FOR DF uses two identical high frequency sine tones positioned in the left & right speakers. During twelve distinct events, the sine tones uniformly increase in volume from silence, and then descend back into silence. At the same time, over the 54 minutes duration of the composition, a low frequency oscillator in the left speaker increases in cycle rate, while a low frequency oscillator in the right speaker decreases in cycle rate.

The influence of the parallel, yet inverted low frequency oscillators on the two independent sine tones creates twelve distinct sculptural ‘shapes’ through their shifting relationship. The combination of high frequencies, and relatively low playback volume, places these shapes and events on the edge of perception. Even during the passages of complete silence, the latent effect of the pitches still colour the experience of the room, to the point that, at times, their presence is felt only by their absence, after the sound has dissolved back into silence.

TWELVE SECTIONS FOR DF uses an intentionally reductionist process to reveal these unique characteristics of auditory perception.

Originally published by Infrequency Editions in 2015.

CAUTION: for your hearing protection, play at average to low volume on speakers only.

credits

released February 9, 2017

mastering - Jamie Drouin
design - Jamie Drouin

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Jamie Drouin Victoria, British Columbia

Jamie Drouin is a Canadian composer of abstract electronic music, and visual artist. The reductionist nature of his work focuses on the subtle, perceptual experiences which can emerge from closely related colours and tones.

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