Paraudiolia

Paraudiolia was conceived in reference to the phenomenon known as pareidolia: the tendency to perceive human-like patterns in non-human stimuli. While the term typically refers to visual experiences (e.g., recognizing faces in tree bark), auditory pareidolia also exists, as explored by researchers and composers including Diana Deutsch and Trevor Wishart.

Drawing from this concept, I sought to create a piece that is permeated with human-like sounds, ranging from purely instrumental to explicitly human, and anywhere in between. The work employs a collection of tools and approaches such as spectral morphing, machine learning, and a mix of synthesized and authentic vocal samples, all with the purpose of embedding momentary human presences within an otherwise abstract composition. Rather than encouraging the listener to question whether a given sound is human or not, Paraudiolia invites these distinctions to dissolve, allowing all sounds to be received under a blurred amalgamation of object and subject.

International Contemporary Ensemble

Rebekah Heller, conductor

Isabel Lepanto Gleicher, flute

Emmalie Tello, clarinet

Alexander Davis, bassoon

Gareth Flowers, trumpet

Michael Lormand, trombone

Chris Gross, cello

Tristan Kasten-Krause, double bass

Rodier, technical director

Murat Çolak, recording, mixing, mastering