Ray Gun Virus
Ray Gun Virus emerged from a convergence of many fascinations. On one hand, the project is an auditory conversation with the ineffable orange frames flickering through Paul Sharit’s 1966 film of the same name. The project loosely translates Sharit’s visual goals for the film into sound, ideally helping “the viewer to become aware of the electrical-chemical functioning of his own nervous system.” With another hand, Ray Gun Virus operates like the Facteur Cheval, plucking humdrum sonic flickers from everyday life and reassembling them into detailed soundscapes. With whichever hand Ray Gun Virus proceeds, the project finds inspiration in the naïve and enchanted entanglements of found sound, spoken word, noise, optical Theremins, and organic and digital instrumentation.