Soundscapes of: bus in transit, car with window open in tunnel. Recording of: certain stanzas/poems on certain pages.
To create a narrative between certain pathways -- if the sound of a tunnel is played on one page and two (possible) pages later, there is the sound of a bus, the user may further enter the liminal space by creating their own connections. The interviews will be broken up and used separately -- I want genuine, honest responses from these betweeners that may speak to users. Hearing someone's voice on a certain page, especially if the text or image is contrary to the audio content, may force the reader to choose which to pay attention to, which to privilege above the other. The dissonance between visual and audio opens up a wide gap in understanding. One should not be more important than the other.
Sound Schema
To capture the bus, I plan to begin recording before the bus even arrives. Maybe catch idle chatter at the bus stop. When the bus arrives, it will heave and sigh and an automated voice will announce its number and destination. I'll sit down near the front, first, to catch the repeated 'dings' of stops and continuous flow of passengers on and off. Later I will move to the back where more conversations take place. Eventually I will get off the bus and stop recording once the bus is out of sight. Hopefully this will all be done while the microphone is marginally concealed, or appear as if it is not in use, so as not to disturb other passengers.
For the tunnel, I plan to ride in the passenger seat and, with the window halfway down, record the sounds inside the car. It will most likely be through the Liberty tunnels at night, so the speed will be around 40 or 50 mph, without too much traffic.
Reading of the poems will be done by me and hopefully two or three others that I have yet to confirm. I will layer these and overlap them so that, at some points, the actual words are indestinguishable. These clips will also be layered with the soundscapes of the bus and windtunnel.