The paradoxical nature of sound, where the pursuit of silence leads to an intensified awareness of the subtle noises in our environment, is a fascinating aspect of acoustics and the human perception of sound. This concept is explored in chapter twelve of “Ocean Of Sound” by David Troop in which he details experiences of obsessive audiophiles discovering sounds that are almost invisible.
In the dimension of music and recording, the quest for capturing delicate sounds can indeed make the environment seem absurdly loud. Even the silence of a recording studio is disrupted when attempting to capture sounds that are barely audible. This paradox echoes Max Eastley’s observation about the elusive nature of achieving absolute silence while recording sounds at the threshold of hearing. The more one attempts to capture complete quiet, the more apparent the background noises and ambience becomes.
The reference to Edgar Allan Poe’s “The Tell-Tale Heart” further highlights the paradoxical relationship between silence and sound. In the anecdote, the protagonist, driven by hypersensitive hearing, attempts to silence the old man, only to be haunted by the amplified noise of the buried heart. The beating sound, initially muffled, becomes an ominous reminder of the inescapable presence of sound in silence. “You have to accept what’s there. To hear nothing you have to be dead”
This paradox serves as a metaphor for the complexities of our attempts to control and manipulate our sonic environment. It highlights the inherent challenges in achieving absolute silence and the ways in which our pursuit of quietness can paradoxically amplify the very sounds we seek to suppress.
Felix Hess created a sound installation titled “Chirping and Silence,” featuring fifty robot “sound creatures” at Xebec Hall in Kobe. The installation drew inspiration from the communication ecosystem of frog choruses. Silence within the gallery was crucial for the experience, and any extraneous sounds interrupted the intended effect.
A passage from “A Document On Xebec” describes the meticulous efforts to eliminate ambient noise from the gallery space. Turning off various electronic devices and appliances, such as air conditioners, refrigerators, and vending machines, gradually eliminated the continuous background noise, creating a more serene environment. Hess contemplated the idea of turning off sounds as a performance, emphasising the importance of silence in appreciating delicate sounds.
Thomas Miner, another artist, expressed a passion for “inaudible” sounds in his compositions. Using gong sound, contact microphones, and studio processing, he created threshold recordings. Miner believed that these sounds, closely related to silence, carry their origins into the music, akin to a memory. He focused on elements that cannot be perceived by the normal ear, creating a unique auditory experience.
Paul Schiitze, discussing KOner’s fugitive music in The Wire magazine, recounted his experience listening to Thomas Miner’s “Permafrost.” Miner’s work had a profound impact on Schiitze’s sense of aural perspective. After listening, the ambient sounds around him, such as tube trains, distant boilers, air conditioning, and elevator engines, seemed to blend into a concert-like experience. This altered perception persisted for about forty minutes, making it challenging for Schiitze to return to the “normal position” of sounds in his environment.
Toop, D. (1996) ‘Theatre Of Sound’, in Ocean of sound. Virgin, pp. 252–262.