The sound is quite a significant part of the work. Were there any specific techniques you used to create it?
Salvador Breed collaborated with us in making the tissue of voices that hovers within the veil, triggered by a stuttering stream of weak signal currents coming from vinegar batteries within the veil. To generate different layers of sound we worked with granular synthesis. This kind of composition builds up small acoustic events, using the most simple of means: a square wave, a sine wave, a voltage-controlled filter, shifting amplification. We chain those fragments together in quasi-periodic series—a kind of pattern that stands between purely random and rigidly repeating organisations. Clusters of voices stutter and convulse. A tissue of very quiet voices is making a constantly shifting, drifting chorus.