Over a period of two years I developed a unique form of spatial music in Ambisonics environments. The basic idea was not only to use a certain given technical setup for yet another electro-acoustical composition but to search for its artistic gestural possibilities, and at the same time to find a way of using these on a subject relevant to our everyday lives. 
My thesis was that this kind of 3D sound-projection can be both: Concrete a sound projecting technique and an utopian construct enabling the composer to create sound objects that only exist within this special setup but still hint and refer to forms and states outside its physical boarders.



While working on these technical aspects, I also approached the idea of the ‘island’, carrying out a comprehensive research into the literary, mythological, geographical and historical background of the subject. 

When do we talk of islands, where and how do islands appear, what is an insular situation, what is an insular sound? 

Thus I sculpted space-related constellations of sound sources, clusters and fields according to insular models derived from my research and realised in my artistic language. 

The work is documented in a binaural recording. As this kind of music cannot be exactly reproduced with ordinary sound-reproducing devices, I chose the binaural rendering taking into account that headphones are more and more popular, and now almost an everyday tool.




gerriet k. sharma

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