Sound Theory (The Clouds) tackles the theatrical as an elementary infrastructure of staging that focuses and synchronizes the attention of spectators.
In both Cinema and Music, listening is informed by the spectatorial forms afforded by the theatre context. As cinema scholar Morten Meldgaard stated “moving pictures only became cinema when it encountered architecture. This observation refers to the movie-house as a spatio-temporal construct for the social venue of cinematic viewing”. 1 Music, on the other hand, has been articulated with the theatre house since its fundamental affiliation dating to the birth of the opera, in ways which have informed music making and auditory attention ever since.
Sound Theory (The Clouds) tackles this manifold configuration of cinema, music and theatre by operating on the way sound becomes a site for the sensorial engagement of the spectator.
Gabriel Paiuk (2021): Sound Theory (The Clouds)