Reviewer 1’s Comments
How well the piece works
This is a rich and captivating audio-visual piece, inspiring a range of potential discussions on ‘inductive’ extrapolations from tuning in ‘into the inaudible world’ of orca calls. The title is intelligent and playful, adding context and helping the listener extract meaning. The visuals are working congruently in terms of texture and rhythm, while some of the granularity and stereo imaging in the audio become very immersive as an experience.
Relevance to symposium theme Although it is understandable that in many contexts we should let the art do the talking, in the context of this symposium theme, the written statement would perhaps benefit from further development. In its current form, it hints at a ‘more inductive process’, but then leaps from the envisioned mission to make ‘silence appear’, into a descriptive sentence about the process. An explicit link between the two, highlighting the inductive rationale, would clarify some of the intentions or – more accurately – the meaning/discoveries/hypothesis drawn out of both process and outcome.
Reviewer 2’s Comments
After reading the description: It was a surprise to learn it is the call of the orca. Firstly, because it sounds like the sequence was intended to be that way and not accidental. It was also a surprise that the listener was able to understand that it somehow related to underwater. Knowing the methodology for producing the final recording is vital to understand what sort of agency Lemon Guo had in recomposing the sonic patterns of the orcas. Was it sampled and triggered? Or, was the transposed samples only sliced and sequenced to [her] taste? Nevertheless, it has artistic agency. Moreover, it triggers the listeners inductive process to give it meaning, a subjective meaning none the less, as good art always does.
The piece is extremely interesting for both composers and producers. It opens the discussion of how sounds of nature can be processed until they are something else entirely apart, with independent meaning and identity.
Reviewer 3’s Comments
This is an engaging electroacoustic/audiovisual composition, which emerges from a specific and relatively well-conceived set of inductive methods. Going by the accompanying text, there is too much compositional intervention here make the processes entirely clear in the outcomes. Nevertheless, while the sources and methods are not directly evident, the piece presents a play between between absence and presence indicative of the ‘inaudible’, suggesting water sounds and textures, and perhaps voices in a landscape, through the development of the materials. The piece title also sets up a suggestive frame for this reading.