“Oscillations” is a sound experience where you can modulate sine waves with two slider sensors for the right and left channels with two speakers. You can fade two frequencies and play live with this, and the listener can hear the interference of the modulation by moving the sliders projected in the space. 

I’m searching to create the same effect as a Moiré Pattern but then in sound working with frequencies. Making sounds interfere with each other, thus creating an extra dimension perceivable by the listener.
The listener can be between the speakers and move around and play with the different frequencies while moving around in the space. Their position has a psychoacoustic effect on how they perceive the sound.
I’m playing with the psychoacoustics, the feedback in the space, and the listener's movement.

The project is developed as an interactive sound installation.
The public can manipulate the oscillations by touching the slider sensors, and at the same time, listeners can experience the sound in the space by moving around.

How we locate, perceive and feel the music.
Do certain sounds lie or appear miles away, seem close, bounce vertically over our heads, vibrate and escape from space, or disappear silently?

Our ears, like musical instruments, respond to music in addition to the music in the room by emitting their sounds, like another instrument joining an orchestra. Neuroanatomical responses and formation of minimal traces of acoustic information. Membranes take their shape in our ears when they respond to distinct acoustic tones.

In music, as we know it, this tonal response is suppressed. They have a subconscious presence, repressed in the complex timbre of music. We did not know they existed, or we created them as listeners. We have no experience with our treatment of how the listener reacts to speci c instruments that may resonate in the inner ear's anatomy. We listen to our ears to perceive and detect extremely subtle changes in the shape of vibrational patterns. We hear the coded response, which extracts information about the details of the vibrational patterns. This produces a subjective pitch.

It can come from an acoustic space - in space around us, such as in a multi-speaker setup, you can hear distant sounds, moving in circles, spirals, squares or other shapes in space. Or it may be a close, speci c, localisable sound.

By choosing the intervals, we prepare specific responses that will be perceived along with the sounds of the music that "ring" in the listener's head and ears. I want to compose with this effect, discovering different dimensions in the acoustic and interaural space.

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