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P r o g r a m :
Immersion 1 was divided into three programs. Each program had an exact duration of one hour.
Program 1: In the Realm of the Senses
| Philip Brophy (Australia) | Swarm | 07.51 |
| Gregoire Couzinier (France) | Déplacement | 10.37 |
| Arno Peeters (Netherlands) | Running On Empty | 17.45 |
| Christian Zanesi (France) | Public Garden | 08.40 |
| Line Tjornhoj-Thomsen (Denmark) | Lauria | 13.45 |
Program 2: Journeys Through Space
| Bernard Parmegiani (France) | Immer/sound | 11.21 |
| Isabelle de Mullenheim (France) | Chantonnement | 09.00 |
| Rasmus Lunding (Denmark) | 5 layers of soil and existence | 10.00 |
| Darrin Verhagen (Australia) | Music for One Seat | 04.54 |
| Darrin Verhagen (Australia) | Mothra | 04.35 |
| Paul Schutze (Australia) | Site Unseen | 10.32 |
| Anne-Sophie Brabant (France) | Lieu Des Eparts | 07.35 |
| Cecile Le Prado (France) | The Triangle of Uncertainty | 12.50 |
| Alan Lamb (Australia) | Artefact From The Human Epoch | 09.18 |
| Hildegard Westerkamp (Canada) | Talking Rain | 12.00 |
| Tim Catlin (Australia) | Ascent | 06.55 |
| Thomas Couzinier (France) | MEM_CHECK_TAKE_1 | 07.30 |
| David Brown (Australia) | Gesture Without A History | 09.15 |
D e s c r i p t i o n :
The three programs comprising Immersion 1 were organized to reflect specific approaches to composition and spatialisation.
Program 1. In the Realm of the Senses (60 minutes)
This program contained five works characterised by composers primarily focused on narrative, demonstrating special sound effects construction, spatial atmospheres and general principles of film sound design. Employing envelope shaping and wave processing to generate dynamic spatial movement of sonic gestures, complex narratives were formed to suggest varying levels of drama shaped within hyper-realistic environments.
Program 2. Journeys Through Space (60 minutes)
Seven works comprised this program featuring composers largely exploring contemporary electroacoustic methodology, demonstrating a variety of approaches towards abstraction obtained by hard disk recording and editing, digital signal processing, synthesis and sampling. Referencing acousmatic models of diffusion where sound is devoid of causal identity, the objective was to immerse an audience through movement and layering, and by the creation of densities of space and zones of aural experience.
Program 3. Lost Voyages (60 minutes)
This program included six works by composers exploring soundscape, improvisation and musical hybrids. Attempting to extend the vocabulary of contemporary compositional discourse, these eclectic works integrated and juxtaposed a range of production techniques and references drawing upon acoustic ecology and environmental sound, improvisation and minimalism as well as aspects of popular music. The objective was to integrate these formal and structural explorations within a dynamic, multi-layered spatial environment in order to introduce new trajectories for these established musical practices.
