Please be in touch and I’ll be happy to send a package of documentation from my recent projects. In the meantime I encourage you to listen to You and Me, Going: http://soundcloud.com/micahsilver/you-and-me-going-2008 This piece was originally eight channels, but was composed to function in stereo. It’s a kind of sound object theater where many of the ways of listening I’m interested in are explored in rapid succession.
There is also the work How to Know You Are in a Room With No Walls which was made the Palais de Tokyo website and can be heard at the link above.
The aural legibility of my other works is minimal outside of the contexts they were created for, the environments and sculptures that embodied the sound.
For example, in The End of Safari there were three different types of sound diffusion used, none of which is possible to represent well in a recording (one hypersonic speaker on a pan/tilt head, two beheaded mythological creatures who had speakers hidden, and ten additional channels diffused from behind the camouflage netting).
In *asterisk the audio was embodiment for a sculpture of broken pianos. Arranged on their sides with speakers directed toward the soundboards, away from the listener, the resulting aurality was very physical, embodied by the pianos at human scale. The listener moved around the sculpture finding new ways to hear the piece as sound built-up and disappeared, leaving only the “spectral ghosts”, the unique resonances of the instruments. These sounds were then transmitted outside via glass transducers.
For The Phoenix the sounds moved around interactively with infra-red sensors, reconfiguring the spatialization. New algorithmic “bagatelles” would be triggered as buses departed, and the sound materials were correlated to the time of day, who was using the site, what the weather was, and a few other factors. The work was temporally specific.