The omnipresent soundscape of drones: reflections on Bill Viola's sound design in Five Angels for the Millennium

Abstract

Analyses of the works of Bill Viola have been extensive, which often emphasize his use of time-distortion technology, religious iconography, and dazzling imagery. The consideration of his approach to sound, however, has only been sporadic. This article investigates Viola's interest in drones in particular, and examines the interaction between drones and slow-moving images of figures in water. A survey of Viola's earlier works demonstrates that drones have played a significant role in his artistic production. Using Five Angels for the Millennium (2001) as a starting point, this article attempts to identify and analyse that role, and argues that it is related to his exploration of time and expanded perception. This article places Viola's use of sound squarely within recent debates about new media art's emphasis on embodied experience, temporality, and immersion.