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The soundscape functions as dynamic memories of active places; the working grain elevator, the local neighborhoods, the conveyer belts, the trains, the loading of the grain....
The microphone is very much like a camera lens and the sonic images are mementos; souvenirs from the places where the recordings began and the re-recordings or performances and installations have occurred.
The particular re-recording process was inspired by recording inside a grain elevator where kernels of grain were being sorted to go out to different processing plants to become flours, tortillas, beers and breads. The interior is a vast structure composed of a complex system of chutes and conveyer belts. Loosely based on the model of the processing of grain, microphones on aerialists, rigging devices, and microphones on forklifts, train tracks and aerialists as they "played the silos," all of which are re-integrated into the final stage audio "product."
These short events have been compacted with so much audio information and re-mixed so that each short portrait packs the memory with tremendous layered intensity; removing the images, the performances, the people, and yet hopefully containing in the audio all of that humanity, history and personality.
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