‘Bee’ is inspired by the microcosmos of insects, an intense, energetic, ‘flying’ world, and could be described as a ‘journey on the back of a bee’, since it seeks to place the listener in this imaginary position, as ‘travelling’ on the insect itself. The purpose of the piece is to evoke images or imaginary situations, and can be well described as a ‘movie without the image’, since the sound is strong enough to let us – the listeners- mould the visual aspect in our imagination…
This work uses the language of electro-acoustic music, and is derived from the digital processing of natural sounds (mostly sounds of insects) in combination with electronic and synthesised sound material.
Bee received the Award of Distinction at the ARS ELECTRONICA 2011 International Competition on new media in the category Digital Musics & Sound Art.(follow link to listen):
motion and character
The work is characterised by intense/kinetic motions and rapidness, which can be observed throughout a context of antithetic relationships between sounds: from smooth micro-motions to vast and rapid passages, from calmness and stillness to the burst of energy, to flight and vortex, to the essence of speed and rapid transition between spaces…
The above relationships often simulate the flying behaviour of insects and moreover might deeper symbolize the powerful energy found in nature, and creative power of life.
The basic audio material used to create the context of the piece is mostly borrowed from the natural environment, and constitutes a variety of outdoors recordings such as those of summer insects (bees, wasps, flies), sea-related sounds (seashore waves distant or close) and forest soundscapes (distant birds, ground noises, rocks, bird/insect natural combinations etc.), which followed a course of transformation regarding their morphology, at a variety of levels. In addition to this material, a number of synthesized sounds were composed and transformed accordingly, finally being mixed with naturally deriving material.
The context can be described as ‘acousmatic’, were the purpose was to treat sound-sources as sound/shapes equally, regardless of their natural or synthetic origin. The ‘behaviours’ created -most of which may remind of natural or supernatural actions- derived from the transformations or combinations between both natural and non-natural sounds.
Apostolos Loufopoulos, December 2010