The overarching soundscape created by Philip Samartzis and activated through collaboration with Tamara Borovica, Live Particle and N’arweet Carolyn Briggs set the atmosphere for the exhibition and produced a noticeable calming effect on audiences, helping to integrate the various senses and slow down the pace of movement in the space.
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“Tracing Time is a multi-channel sound composition focusing on the seasonal characteristics of Autumn and the way they shape environmental and bioacoustic sound. The composition features an assortment of natural and atmospheric recordings mixed for different zones of aural experience to encourage active listening through various modes of encounter. It is also designed as a relational response to the material and spatial properties of other artworks featured in the Children’s Sensorium. Occupying Heather Hesterman’s tree plantings are the woodland sounds of wind, branches, and water, while Fiona Hilary’s radiant neon work is supported by a recording of plasma emitted by the sun. Other structures within the installation are used as sites of discovery and play. Large cardboard tubes become a place of refuge for children in which colonies of flying foxes and green tree frogs can be heard. The Children’s Sensorium offers many navigational pathways and opportunities for audiences to participate within the distributed artwork. Within this inclusive framework, Tracing Time encourages audiences to forge their own connections between place, body, and memory in order to transport listeners to real and imaginary spaces that build curiosity while offering respite.”