One took me down along passages below ground level between slabs Fuzhou Vacations of rock, open to the sky but continually descending, growing narrower until I had to Fuzhou Vacations stoop double or squeeze through sideways. There was no specific ground level, it varied according to the debris of rock that has fallen from above over the millennia. There was hardly enough earth or light to support plants, yet a few hardy vines and clinging trees have taken root. Several times I thought that my path had ended but when I explored the side tunnels I found ways that led ever onwards, now into dark gloomy mossy dungeons with water dripping into pools. It was a relief when the path began to climb, and although I was frequently surprised at its obstacles, it finally emerged back into daylight. Looking at my map didn’t give me any clue where I was and I couldn’t see any of the landmarks it described, so I began looking for a path leading upwards.
In order to create Gasoline Music, special contact microphones are attached to the engine and dashboard electronics such as the indicator switch. The microphones are connected to a mixing board located in the front passenger seat in which various sounds can be manipulated, amplified and distorted by Nakase using devices such as filters and guitar pedals. A series of loudspeakers are installed around the car which project the sounds of the engine and dashboard back into the space of the car. These loudspeakers include a high intensity subwoofer located behind the back passenger seats. Overlayed into this composed soundscape are the actual sounds of the engine and the sounds of driving/moving through space (the textures of the road and the sound of bodies moving on leather seats). This creates a complex cacophony of multi-sensory interactions: sound, motion, energy, vibration and vision. These orientate the participants in a new way to the environment of the city.
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