The main idea of this piece is the projection, amplification and development of events emerging from ordinary bjects in an urban environment. These events are characterized by the emergence of certain frequencies that are produced when the vibrations of the passing vehicles reach the stop sign. In the original field recording, these frequencies have a quite subtle quality, as they barely sound louder than the harmonic spectrum of the stop sign in very brief and sporadic fragments within the recording. In order to reinforce the perception of the frequencies of the stop sign and their relations, I studied its harmonic spectrum and created filters with the purpose of emphasizing its frequencies, which allowed me to manipulate them in order to develop harmonic relations, dynamic contours and changes in texture. The most audible notes of this spectrum are: B flat, F, A flat, C, D, and E flat, all approximately a quarter tone higher. For timbral variations I duplicated this harmonic spectrum of the stop sign creating sine waves with frequency modulation that would be paired in stereo with their relative filtered frequency. Due to the magnified listening experience made possible by a contact microphone, I understand this piece as an immersion into a sheet of metal. The field recording of the stop sign was made by Edward Stumpp.
Installation location: Mills College Chapel