this edition of framework:afield has been produced by omalto:
Omalto: Someone’s here!
Track 1: Wandering around (25:49 min.)
Track 2: Possible dialogues (27:09 min.)
Credits: Session recorded between September and October 2011 and edited in October 2011 by Atomo (AKA Omalto).
Omalto Website: http://omalto.bandcamp.com/
This session is composed by sound captures done on several sites of the 3D virtual Second Life. The initial concept of these recordings was to understand possible similarities and/or differences between recordings done on physical world and on on-line virtual spaces.
Second Life offers ways of simulating physical reality through environment building tools and in its interface. Unfortunately, most of these constructions try to imitate real spaces within a commodified culture, even if there is room for experiment and subversion. More a social space than a special simulation, these virtual re-creations is a stage for communication between its users (through avatars).
The alterity of these virtual spaces comes from the failure in recreating physical reality in a consisting form which creates sensory deformations and the virtual nature of the communication done by its users. Soon after a normal time of adaptation to the interface, the users start to feel physical simulation in the sense of ‘being there’. However, this reality is marked by visual incongruence, download time, software noise and hardware interferences, which mold the presence and communication of the users, creating a distorted sense of physicality.
Serving as an example of such sensory deformations, this recording is divided in two segments, having space and communication as targets. The first part is similar to a field recording in a physical environment, during which the sounds are perceived through an avatar, including its interactions and ramblings. It also includes sounds captured from SL simulations such as a 1st world war battlefield or interactive artist installations.
The second part of this recording expands that perception by including some sound captures of users interactions, mainly through voice. This segment relies more on compositions done through sound editing, a fragmental recording that re-creates the mixed identities expressed on these virtual spaces.