Stultifera Navis was composed using sounds gathered during a residency organised by Binaural/Nodar, held in the Portuguese rural area of Gralheira Mountain Range between April 9th and 29th, 2012 and culminating in the Sound and Rural Architecture Festival. (further details here and here)
The primary source sounds for Stultifera Navis were recorded inside and from the partly open door of a mountaintop chapel, taken during a period of violent winds and rainstorms. The morphological interest converges on two simultaneous events at two locations, the chapel interior where the wind, partly shielded by an outside wall, agitated small votive flower offerings, causing them to scrape against a broken windowpane. From the back door of the chapel the sound of the storm lashing against large radio towers provided a larger contrasting yet finely articulated sonic space. The secondary sound sources, pushed further back into the mix, include underwater sounds recorded using hydrophones, hand bells, and metal sounds from several sources.
With Stultifera Navis I carried out less modification and transformation of the source sounds and experimented with the relationship between the horizontal or linear and the vertical or textural dimensions of the work.
Stultifera Navis formed the sonic component of film-maker Sarah Bliss and sculptor Rosalyn Driscoll's collaborative installation shown in 2015 at Boston Sculptor's Gallery, Boston, MA. (details)