Superlucky Purr #1

The point of origination in this dimensional sound sequence [looped for presentation], titled "Superlucky Purr #1" is my kitten purring. The general scope of the exploration is the interplay of electronic intervention, vibration, selective filtering and language as an extension of body function. "Superlucky Purr #1" consists of digital and analog elements. The assembly of elements is primarily computer-enabled. The Sender-Receiver progression in the piece is complex, the end-user being the gallery guest.

"Superlucky Purr #1" isn't an audio recording (movement of air on the diaphragm of a microphone) as such. I was more interested in capturing the underlying rhythms of the purr, so I used a contact mic to record the vibrations. The kitten is situated now as a hollow-body electronic "musical" instrument. I also recorded other contextual or proximal vibrations and juxtaposed them with the purr. I set the secondary [sphere] focus on the ambient vibration as a constant, either naturally-occurring or artificial , but generally not sonically detectable or otherwise filtered by the "human ear."

Inspiration for "Superlucky Purr #1" was provided by the field recordings of Bernie Krauss, the vanishing sounds of North American frogs compiled by Charles M. Bogert, and artist-engineer Zach Poff, who taught me how to build and use contact mics.


Notations:

The rhythmic environmental subtext of my domestic space operates as the foundation for sonic architecture in "Superlucky Purr #1." For comparison, I considered how all of the sounds in an unmolested natural environment seem perfectly arranged to fit like puzzle pieces on an audio spectrum