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«We live in a hyperreal world. Electronically distilled real world vocabulary - compressed, flattened, and retransmitted in a flipchart of images and sound.» - https://soundcloud.com/francescamackay
▶️Tune in and join https://soundcloud.com/francescamackay on today’s instalment of #Architextures, exploring the world of Hyperrealism through sound.
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🔹The origin of the term Hyperrealism (Hyperréalisme) can be traced back to 1973, when Isy Brachot coined for the first time as the title of a major exhibition and catalogue at his gallery in Brussels.
🔹Electronic composer Creshevsky has extended the term to the work of music, defining hyperrealism as “an electroacoustic musical language constructed from sounds that are found in our shared environment, handled in ways that are somehow exaggerated or excessive.”
Just as the acoustic palette includes the sonic results of a body of instrumental techniques, the expanded hyperreal palette incorporates the sonic results of the rest of the world - whether that means “natural” sounds (such as voices, birds, or wind), naturalized sounds (tire squeals, instruments, or footfalls), or adopted sounds (horns, cellphones, or electronic toms).
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