Thomas Tilly about : hear(blank)now
The work proposes the listening of a possible synthesis of the aural environment of the gallery.
Far from any fixed compositionnal form, it is made from a random mixing device, diffusing the imanent sound sources of the place.

Firstly, a selection of recordings made​in advance and read from a CD player, on the other hand, a sound potential (magnetic fields) transcribed instantly into sound. Thought in opposition to the large size of the place and the amount of works that are presented, the device is small and dedicated to a nearfield.

Amplification and mixing device, CD player, solenoids.		  

ROOM FIELD

Between these walls are the sounds that we cause then those that come from outside, so-called nuisance.
My daily sound environment is made of this mixture, this constantly present Distant and unconsciously established Near. Between these four walls, the ear adjusts, the head forgets the noise to focus on the essential.
From time to time, the sound cuts the essential by breaking the surrounding dynamics. It recalls the outside, placing habitat in its context.

Room field is a four speaker piece highlighting relationship between various sound plans captured in my home. This spatialization is built on the basis of a virtual geographic cutting of my flat, made by placing microphones in the rooms. Therefore the material / base of this work consists in four recording points.

Each point of capture of the place is a "zone" of the apartment (living room, bedroom, bathroom, courtyard) and is attributed to a speaker in the device. These recordings were conducted day and night.

On the other hand, mono and stereo recordings made in various parts of the place are built into the device. They emphasize the dynamic changes of the sound space. This work is a reorganization of my daily sound environment, a transposition of my flat's private space in the public space of the gallery...

2009 - duration : 18 minutes 54 - configuration : 4.0
 


fissur.com
fissurphonography.blogspot.com

  

Artist-composer and self-taught musician, Thomas Tilly uses the microphone as his main instrument of work. In 2001 he creates Tô, a solo project of concrete music focusing on environmental sounds and found-objects manipulations.

In this view, the composition and publication on disc of such sound material have to be considered as a sonic synthesis of a place during a certain periode of time. (N.B. this method requires to stay, observe and study the architectural aspects of the place in order to formulate a personal view and interpretation of it).

The knowledge of Thomas Tilly is also used for sound-installations allowing to develop and enlarge the logic of specific datas collected in a place via various systems of triggering/diffusion in situ.