Grains of poetry travelling through Sulfuric Acid.

Recommended Nocturnally.

Broadcast/Exhibition- Radio Tsonami & Tsonami Arte Sonoro, Valparaíso, Chile, Thirty Three- 45 Radio, Ireland, Radiophrenia(Centre for Contemporary Arts in Glasgow), Future Nostalgia.FM / Project Futurology Kiosks(Bauhaus-Universität Weimar, Germany)

About-
Med Dew Dims happens to us as a non-cooperative movement towards the scarcities imposed upon by ensuing (mis)managements, a movement to be able to attain a sense of timelessness in our practice through pandemic, overwhelming panic and crisis, and an act of watering the basic instincts of sonic translations and metaturnal nostalgic interactions between poetry and ragas. Here, We prolonged the rue of our previously published literary translations of poems, only to translate them further into audio grains. These audio grains are then overlapped, and intermingled into layers of granular space, whose specificities are decided by the specificities of the mediums. A grain’s division, its velocity, the perception of its pitch, its density, the decision that if it warps or mirrors, were left upon the medium to decide by the attributes of its own, density, specific gravity, temperature, reactivity, viscosity and its willingness to vaporize. We are attempting to understand how the experience of bromine is different from that of mercury, from that of steel, from that of ethane and so on through an aural lens allied with poetry’s presence. The transmission is prescribed nocturnally as it is based upon Indian classical Ragas (like Malkauns, Adana, Kafi) prescribed for the night.

Med Dew Dims is composed with the help of 8 opensource Max For Live (standalone in progress) audio devices, where we have tried to find some middle ground within the limitations of our sonic sphere, and come up with associations (utilizing ultra-sonic flow meter readings) of translating the speed of sound in these mediums into the BPM of the audio, the specific gravity into separate ranges of pitch morphing, Kinematic Viscosity into delay (which range from 7 seconds to 7 minutes), a separate delay based on the speed of sound again, and the Velocity change of sound with temperature, into two simple oscillator knobs with built in amplitude synthesis (the ratio of which is based on velocity change) to create a sense of movement.

With a para-sensory belief in sounds and poetry, we are speculating a future of new sensory mediums, where poetry finds resolution with a bare minimum granular presence, and hesitates not interacting with vibrant musical prescriptions.