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9th GRAND PRIX NOVA, 2021

BINAURAL DRAMA. Serbia - Screaming Silence

Producer, Author & Director: Marija ©umarac. Sound engineers: Marija ©umarac, Antonio Andriæ, Teodora Đurkoviæ.


SYNOPSIS:


The subject of this work is the area of sound spatialisation from the point of view of sound design. I started the research on the assumption that the spaciousness of sound covers almost all media in which sound design such as film, television, theater, radio, music and video games. Different concepts of sound transmission (binaural, stereo and multi-channel) are used for each of these media, and the choice depends on the type of media and what emotion we want to convey to the listener. This piece is created as a research of the subjective experience of the design sound space, which represents the memory of a safe place. We all have our own safe place where we feel protected and safe, whether it is a space in nature, family or travel. The idea of a safe place is related to the Greek word „Temenos”, which means sanctuary, grove. Idea of Temenos Jung introduces to psychology, where he identifies it with a safe place and implies a space for mental work. According to Jung, Temenos is a square circle in which an encounter with the unconscious can take place, in which a fragmented person will be healed, reorganized and regenerated, and where these contents can be brought to the light of consciousness like memories. In this way one can meet one's own Shadow, Animus / Anima and finally the Self, the names that Jung gave to archetypal personifications of (impersonal) unconscious contents that seem to encompass all cultures. Memories are the ones that take us from our current presence in real space to a place that is “virtual”, where we recreate the image. Most often, the first thing we agree with when we evoke memory are the sounds that bind us to that space. This piece consists of 7 musical fragments (Silence, Diving, Noise, Reverse, Shadow, Awaking and Emerging). Originally, this piece is reproduced inside spatial audio installation inside an enclosed space that would be a system for multi-channel sound reproduction of 15 speakers placed in a circle at different heights. This way, the phantom center was deliberately bypassed so that it was not necessary for the listeners to sit directly in the middle. The goal was to create an immersive sound experience where the listener could enter an inner, virtual world that would evoke his deepest feelings and meet the unconscious. The listener should not only experience sound as external information, but also be immersed in it with his inner sense of hearing.