Fake Air is a creation. It emerged in 2015 as a reflection of Coppice’s bellows-sourced study of air between 2009-2014.
Fake Air is a sound design. Its point of origin is physical modeling synthesis, a sound synthesis technique based on models of the sound-production mechanisms involved in musical instruments. Rather than imitating specific behaviors or natural environments, it renders broad sonic and musical properties of Coppice’s air-focused compositions as a keyboard-based “virtual aerophone”.
Fake Air is a harnessed image of disembodied phenomena and a physical modeling object, a paradox to physical modeling. It is active and dead.
Fake Air is under control. It exists in “real time”, in layers, devoid of effects or processing other than those constituent of its model. Illusion supports a concrete space.
Fake Air inquires into the relationship between sound and air, as a figure that simulates and reflects the medium it sounds in: fake air on air.
Fake Air is a forging of sound (a simulation of the air medium) and air (a transmission medium through which sound propagates). It may be listened to for a music’s origin (unvoiced energy) with an unknown destination.
Fake Air is a textural instrument. It imprints subtle dynamic changes in noise color, range, density, and diffusion.
Fake Air is abstract touch. Its pressure on the listener does not exceed that of subtle audition. Remembrances of the physically-oriented effects of air (meteorology on the senses) appear for the listener subjectively.
Fake Air is a projection to be completed by the listener. It encircles and invites memories of pressure, temperature, edges, moods, orifices, cavities, transparency.
Fake Air is an electronic sound and an acousmatic sound (an invisible sound source) – bound to the loudspeaker. Rather than illustrating external conditions (environmental, spatial), it filters internal causes (temperamental atmospherics, forecast, private barometrics.)
Fake Air has a limited purpose. It is pneumatic movement imagination with designed boundaries of no direction. It is superficial, an artificial appearance, and not an enhancement.
Fake Air nests within it fictional pressure, untraceable elements, and an impossible object that is never touched or brushed against. Its edges sound by means of an impossible interaction with a self-contradiction of no self.
Fake Air is in inseparable relationship to audio media. Recordings or collections of Fake Air disturbances form Fake Air Storage, which faces John Durham Peters’ distinction of obsolescence from disappearance or destruction as “the persistence of the thing in a straitened or muted role, not its vanishing.”
Fake Air points to the persistence of air as a container of sounds and listeners.
Does fake air brush over the epitaphs of songs?