Loud Waters
Research-installation
2022 ongoing
In Loud Waters, I approach water bodies as sensors, and tap into them through hydrophone recordings. The speed and distance covered by sound underwater forms a sonic representation of space which transcends our common understanding of distance and relationships.
In this project I theorize about the violence of maintaining vision as the primary sensory cue underwater and ways in which submerged soundscapes can be read through site specific installations.
Soundscapes underwater are like portals, capable of transporting us on a perceptive journey in which the notion of space and time changes. Water is a great conductor of sound, considerably better than air. Soundscapes in oceanic environments tend to be constant, a never ending background noise, a symphony constructed by every single organism and inanimate object which testifies the stability of the ecosystem.
Watery worlds tend to be mostly represented and approached through vision, however listening can create a different kind of proximity.
Human presence in the underwater soundscape is mostly unknown yet heavily present. It has been proven that the oceans have gotten louder due to increased human activity. Sound pollution has been widely ignored and underestimated in maritime law regardless of countless events, such as cetacean beachings during military sonar testing and the displacement of ecosystems due to seismic surveillance.
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