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SECOND FLIGHT OVER AN ISLAND INTERIOR

by Kraig Grady and Etienne Deleflie

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Excerpts plus additions from an article that first appeared in the Aal Drum Newspaper July 23, 2012

AAL, ANAPHORIA Anyone who has taken the journey from Aal to Rahab is struck by the vast barren plateau without shade or vegetation. The trail itself is 247 kilometres without the slightest variation in direction which seems to hypnotise the traveller and this can be dangerous. It was an ideal spot for Kraig Grady (cultural liaison) and Etienne Deleflie (nomadic Spinozan monk) to place 15 sound installations of grids ranging from 16 up to 256 solar powered speakers. The purpose of the sound installation was to help those traveling by breaking up their journey into smaller units. The sounds are derived from ancient tablets dating back to the 14th Anaphorian dynasty (2700 BC) whose meaning remains undeciphered. The only clue lies in the discovery of magic squares, believed to be amongst the earliest found. Since these ancient magic squares are not big enough to generate the grid that was envisioned, Grady used each square as a seed for generating various recurrent sequences (see bonus item)

Etienne Deleflie’s previous work with ambisonics along with his investigation on the relationship between music and spatial verisimilitude (the illusion of being real) inspired him to realize a standalone version of these harmonic grids, allowing one to experience what one would hear if they could fly silently down this century old passageway. 13 of the original 15 grids are heard. The two missing ones hold a special undisclosed meaning for Grady and Deleflie that they wish to keep as an experience that can only be realized in the actual space.

This piece enjoyed its European premiere at the Spazioeretti Gallery, Udine Italy June 21-30 2013

It is recommended that the piece is listened to with headphones or seated in front of and centered between stereo speakers.

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released July 12, 2017

Kraig Grady And Etienne Deleflie

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Anaphoria Wollongong, Australia

Kraig Grady explores what he refers to as interior sound recordings. He collaborates within his own orchestra of instruments he has built or modified to emcompass the tunings that reflect a n intimate landscape. He also uses at times recordings of traditional instruments to explore his favorite tunings. The resulting compositions reflect his interest in ritualistic forms and purpose. ... more

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