After establishing the theory behind the installation – the technical element of actually making the audio came into play – I had to think about what type of instrumentation I wanted to use – with the initial idea of having the entire piece a complete Ney Flute piece – the nature of the flute allowed m allowed me to create an environment of white reverberation wherein I can play with the multi channel nature of the space and really use the theme of use the theme of immersiveness in a way that goes back to the context of what I was trying to translate I used only Sufi instrumentation.
I used MIDI too to play one note and stack them over each other in relation to the multi channel pieces they were connected to I felt like this layering was very important in communicating the idea of the piece sonically I wanted something that wasn’t too musical and something that wasn’t too abstract either I had to be something in between wherein I could create an environment that was both welcoming and intriguing. I think I think the nature of the production itself is also very interesting in that a lot of it was made electronically the visual itself was made using a programme online and the space in which I made it wasn’t traditional at all.
I found this to be one of the more difficult aspect of creating the installation I found it hard to actually put sound to the context context that I researched mostly because it was something that hadn’t really been done before in this way and so I pulled inspiration from Lulwah Al Hamoud and more physical art pieces rather than sound art pieces but I believe I created something so far that related to the research in a sensible way.