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GSV satellite data describes the changing envelope and stereo placement of the electronic sounds, combined with the frogs (from David Dunn's "Why do Whales and Children Sing")
Here the GSV data is different because other satellites are being tracked. I'm experimenting with different ways of sonifying the RMC (long/lat) data and altitude, here the noise in the background is filtered according to the changes.
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these prototype sounds will be developed for the final version; but even now it's easy to hear the movements of the two kinds of data, the satellites themselves (cricketing) and the long/lat position (frogging)
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how can an electronic trace contain my feelings, my memories? how can I recognize people and places in an abstract sound of clicks and tones? how personal is this, how exclusive, how intimate, how possible to share?
these sounds are made from a collection of traces of my journeys (physical, spiritual, emotional and creative) over 2007... but what do you hear and feel?
it's a paradox of invisible memories, searching out an electronic intimacy.
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sounds for the first version of Taking Soundings made at the in 2006/7 KHM in Cologne
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listen to Taking Soundings 2, made out of collected GPS traces from Portugal, Sydney, Holland, Spain, that I made at Steim summer 2007
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