sonic theory

To think about sound using the terms deepsound and surfacesound originates from  my artistic practice of experimentation with sound in two different ways. Surfacesounds are the sonic phenomena that occur when materials are played and excited trough vibration, their surfaces and spaces being activated, while deepsounds refer to sound that conquers  the arquitectonic space or an open environment, entering in a symbiotic relation with it´s surrounding and being less object attached. Surfacesound creates sculptural and location detached installations – which can be transferred to different places changing in their form but not in their essence. Deepsound relates to site-specific works in terms of a physical room, place or environment, the site becomes an important part of the work itself which cannot exist in a different place. Nonetheless, the body of the spectator and his physical movement remain very important in both types of installations, trough their atmospheric character which creates new sonic places to discover. Surfacesound installations act as sound orchestras and deepsound installations play  rooms as instruments. There could be a third type of sonic interventions in the public space, which is characterised by the uncertainty of events when the work is less object or architecture related, becoming performative in the sense of belonging to a public body with it´s own dynamics and tensions.