Soundspaces are not spaces which contain sound, but spaces which are created by sound.

The phenomenology of sound is essential to the weaving of our experienced reality. Evidence of the deliberate usage and exploration of spatial sound can be traced back to Palaeolithic cave paintings, where resonance is directly linked to the location and amount of parietal art found in prehistoric caverns.

The acoustic function of resonant spaces has since then been applied as an architectural model, as experienced in pantheons, cathedrals, and countless sacred sites globally. More recently, with the availability of technology, spatialized sound has been further investigated through sound pavilions and multichannel sound systems, aiming to unfold a further dimension in sound. A sound not restricted to timbre, pitch or duration, but set into motion in spacetime, in intra-action with the body as a whole. 

Many approaches have been explored regarding sound in space. From placing the brass section of an orchestra in faraway balcony offstage (A. Lucer), to creating a room with a 6x64 speaker array system to trace high resolution sound paths (B.Leitner). Quadraphonic sound or 4.0 surround sound was conceived in the 1970’s as a standard format for the consumer friendly reproduction of spatialized  sound. While it failed as a commercial product, the format still remains relevant and adventurous. 

“Quadraphonic is the natural domain of electronic music, becuase electronic* sound is essentially monophonic, and it comes to life when it is moving. Its not about the sound per se, or the timbre, it is about the way it moves.“   Suzanne Ciani on quadrophonic compositions with the Buchla 200e 

Presentation and performance of a quadraphonic composition by Esteban de la Torre, followed by a panel discussion and Q and A alongside Adam Krasz.