Brandon LaBelle - duck duck goose
  Year :   2006
  Location :   Germany
  Worktype :   Installation
  Materials:   -
  Info :   Ausland, Berlin

  Work Details  
  Welcome to duck duck goose! Please feel free to take a whistle, have a seat and listen to the headphones. What you’ll hear are sounds I’ve collected over the past week, and made into an audible diary – of ordinary events, surprisingly special moments, abstract observations…wishes and dreams, realities and interactions, of a body moving through a city. The sounds in the headphones are coming to you through a motion-tracking treatments: your movements in the space compose and treat the sounds you are hearing... You may just listen, or if you feel like playing along, please blow the whistle whenever you feel you hear a “change” in the sounds. This is up to you to decide – what kind of change has occurred? Is it a new sound, a change in an existing sound, a different feeling…a sudden rush of wind, a sweet whisper, a kiss against the ear… You are welcome to interpret this as you like, and to blow the whistle as quietly, as gentle, as musically, as you feel is needed. Your sounds are also being treated with a software program and amplified through speakers outside onto the street. So, let the air blow! Space and music composition share similar strategies defined by marking limits: with space this surfaces through the demarcation of borders, the distinction of private from public, and the formulation of a “psychological infrastructure” which sees what is inside different from what is outside, determining what is allowed to move freely across these related boundaries. With music, such strategies of marking limits appears through compositional structures that decide what is correct and what is incorrect, from the right note to the bad one, from the correct form of playing to the incorrect form, all of which come to impose a sense of values onto the accidental and ambiguous field of sound. Engaging with boundaries, duck duck goose invites the networking of different gestures, sounds, and spaces to undo the understanding of what belongs and what doesn’t, spatially and sonically. Spending three days in the city of Berlin, an audio work is made from field recordings and their manipulation, which acts generally as a kind of “diary” to share with visitors: these sounds are treated through motion-tracking software, turning movement in the space into a compositional structure. Visitors are invited to listen to the work through headphones, occupying chairs placed in a circle within the space; in addition, they are asked to respond to the work by blowing a whistle every time they feel a change has occurred – from pitch changes to textural changes, ambient moods to the sudden appearance of new sounds, each becomes a question to be answered by the individual visitor-listener. Visitors come to form an audible addition to the work, while creating their own collective ensemble. This ensemble and their playing are further amplified through a set of speakers mounted outside the space, on the street, some 25-metres from the entrance, after passing through computer-modification, looping the audio work back to its origin within the city.