Soundreaming Volume 2: Overlooked Horizons + Soundreaming Compilation

Single No. 1 Transferring Familiar Views

1. Transferring Familiar Views
2. Ghost Islands

Single No. 2 Away From Home Yet Feeling at Home Everywhere

1. Away From Home Yet Feeling at Home Everywhere
2. Swarm Entry

• © Copyrights 2024 by Jacek Doroszenko & Requiem Records
• Composition, performance and production, Overlooked Horizons: Jacek Doroszenko
• Compositions, performance and production, Soundreaming Compilation: guest artists
• Voice, Away From Home Yet Feeling at Home Everywhere: Chris Hernandez
• Voiceover & proofreading: Chris Hernandez
• Mastering: Jacek Doroszenko
• Text: Antoni Michnik
• Project website: soundreaming.org
• Artwork: Ewa Doroszenko
• Cover design: Pineum

Is it a deaf phone? An autopoietic feedback loop? Exercises in commodified memory? Is it the hydrological cycle translated into the circulation of auditory experiences in culture?

In music and sound art, places and spaces are most often perceived through the prism of acoustics or phonographically captured sound objects, which are then compiled into field recording compositions or soundscape compositions. However, we can also find more abstract, post-conceptual approaches here. Soundreaming belongs to this area. The project constitutes sound dreams on the one hand, but on the other hand reamed sounds, a kind of dream woven from sound material that has been radically processed.

The sound material here is created through a loop of mutual artistic translations by Jacek Doroszenko and Ewa Doroszenko, an artistic duo. First, field recordings and preliminary sound materials are created, which are then interpreted into visual works, which are later reinterpreted as graphic scores. As a result, the individual compositions are layered with: (a) edited, looped, sometimes processed field recordings (b) instrumental and object-based parts and (c) electronic parts, sometimes melodic, at other times operating with grains of noise or glitch. And yet, from beneath all these layers, the source sound artefacts peek through, leading the ear and mind back to the contexts indicated by the titles.

The layers of mediation bring the project closer to the complex ideas of abstract representation of space under Robert Smithson’s land art conceptualism, or the neo-avant-garde use of maps or photographs to create graphic scores, than even contemporary field recording practices.

This brings us back to the questions posed at the beginning: what is Soundreaming?

This is a collage narrative based around the sounds of a non-existent place, suspended between field recordings made during the Artist-in-Residence stay in Linz, the different ways in which they are individually perceived and mediatized. The individual pieces are after-images of places, or perhaps after-hearings, which are, after all, two different things. Perhaps they should be thought of as post-field compositions.

In the project, the web of mediation and reinterpretation expands even further by inviting selected artists who have subjected material provided by Jacek Doroszenko to their own processing. The networks of dialogue, references and resonances grow, swell, build up, fold.

Looking into The Dictionary of Imaginary Places by Alberto Manguel and Gianni Guadalupi – is Soundreaming inviting us to Lucan’s Island of Dreams? Certainly not to Alfred Kubin’s Dream Kingdom. But perhaps to Tekla from Calvino’s Invisible Cities, a city of constant endless construction, transformation, and reaming?

text by Antoni Michnik, Feb 2024, Warsaw