Dyslexia is a 4 Channel Audio Portrait. Through readings from an actual diagnosis of a Dyslexic person and of generic Definitions of Dyslexia the piece is exploring the impact of of a disability on one's identity.

The piece was intended to be played in 4 channels that are orginized in a vertical diamond shape as presented here:
https://www.instagram.com/p/BbA4_59FP9I/?taken-by=gilbi0394

Dyslexia

This is a stereo mix. 8-channel and 10-channel versions available upon request

In[n/ H]er Head uses dialogue and recitation to explore self perception and definition. The inspiration behind In[n/ H]er Head lays in one of it’s main components- C.P Cavafy’s poem Walls. The poem discusses the feeling of being shuttered out of the world, trapped in a room without a clear understanding of who trapped you there to begin with. My reading of the poem interpreted the unheard builders (those who trapped you) to be the trapped person him/herself. Being inspired by this poem I started asking myself many questions about these things that happen without anyone noticing; how much of what we think defines us is our doing? What do we deny ourselves of unknowingly? Who are the builders we did not hear and why did we not hear them? What are our limits? What are themes that even in the back of our minds are not to be touched or talked about?

In(n/ H)er Head Stereo Mix

This is a stereo mix. 8-channel and 10-channel versions available upon request

What’s a Difference? engages with authorship, difference and similarity through interweaving personal accounts and experiences of 10 participants. In this piece I think about the (in)complete nature of our personal narrative; our individual experiences which are not singular, and the human experience of completeness that is actually always inevitably fragmented. Yet, when different “complete” fragments are brought together, they compose a larger, never ending, (in)complete story.

What's a Difference? - Stereo Mix

This piece is dedicated to my father, Ori Gilboa.  

The piece is a sonic portrait of a figure I named Peter Pan, as it is perceived by each of the speaking voices’ point of view.
Peter Pan is explores the possibility of global familiarity, intimacy and similarity in the absence of a name or visual descriptions. 

Each voice functions within four channels it comes out of, and most of their content is exclusively heard from these channels. The only moments in which I utilize the full 
30-channel construction as a whole are a) when an idea is overlapping across all four voices, b) a sentence is in direct response to one of the other voices in a way that calls for elaborate movement, and c) when I am trying to use the sonic space to draw the meaning of the word with movement.

Peter Pan Stereo Mix

composer and audio engineer
phd candidate at brown university's music and multimedia composition program
assistant professor at berklee college of music's electronic production and design department

Lee Gilboa

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