infinite grain documents works, processes and theories of microsound: sound approached as atomic, malleable and atmospheric. By intertwining art, philosophy and technology, the sonic phenomenon is here assumed as a creative device present in ambient/computer music, audiovisual art and post-digital aesthetics, building a repository of perspectives regarding composition, improvisation and thinking towards the sonic continuum and its experience in terms of perception, morphology, texture, and spacetime.
Despite of seeming to be unallocated, undefined and ghostlike, sound reveals a possibility of being registered, programmed, controlled, mangled, reduced, augmented, analyzed, extracted, decontextualized, rearranged, visualized and sculpted, thus appearing as multi-dimensional, quantum, molecular, granular, spectral, aetheric, alchemic, microscopic and quasi-plastic. Such possibility, addresses a plethora of questions around the sonic flux and its fictional possibility, exposing it as a physical yet oneiric pattern; material and intangible, biologic and algorithmic, simple and complex, subtle and massive, quiet and immersive, terms not assumed as opposite, but as ever-changing inter-connections taking place in the acoustic, digital, mechanic, electronic and narrative domains.
operating since 2013 as a public resource under cc 4.0 license. Subproject of sonic terrain, run by miguel isaza in medellin, colombia.
contact: infinitegrain[at]gmail[dot]com | twitter | facebook
Leave a Reply