|
|
A particular variant of such real soundscapes are the creations of Bill Fontana in which the sounds are relocated, but not so drastically that it is no longer possible to see the visual sources of the sound. The sound remains connected with its visual source. Such a soundscape is ‘Acoustical Views of Kyoto’ (1990) where ‘urban, religious and natural' sounds are relocated to the top of a hill, from where one could see the places where the sound originates. Bill Fontana describes the experience as 'hearing as far as you can see'. A similar project is 'Acoustical visions of Venice' (2000): 'whenever a bell rang or ship blew its horn, one heard it first at the speed of light and then at the speed of sound'. Also in 'Sound Island', there was a second installation on the observation terrace of the monument inwhich 16 loudspeakers on the perimeter played live sounds from locations in Paris that were more or less visible.
|
