Group items tagged

"While the acoustic environment and urban soundscapes shape our everyday life, architecture practice usually neglects the experience of acoustic space in its design process. My research addressed the challenge of integrating spatial acoustics and the experience of environmental sound in architecture practice. Drawing from acoustic ecology, creative approaches embody the aural experience of the environment into the design process of architecture. "

In what ways do we listen to the soundscape? How do our concurrent activities, moods, and abilities determine the listening mode? What is it that allows us to experience arbitrary sounds in an everyday environment as elements in a musical composition?

"Video presentation during the international online seminar 'Design as Collective Improvisation' 4-6 November 2021. Presentation on behalf of the team of the collective project 'What Do I Hear?', an initiative of the OtherAbilities http://otherabilities.org/ "

Chapter by Mack Hagood about the idea of using podcasting and audio as a form of scholarship.

"Pushing off from experiences in which music hails its listener in terms of communal belonging, this essay tries to productively shift our attention towards the queerness of sound itself, as both an agent and a solvent of the political experience of antagonism encountered when identification claims us (or fails to claim to us). Sound- not music but the raw immanence of sounds we cannot identify- can let us hear what is not yet locatable on the available maps of identity. Hearing the queerness of sound might help us echo-locate the edges of subjection, and encounter its ontological outside."

"In this paper, I interpret the musical performativity of Jamie Stewart, frontman for experimental pop/rock band Xiu Xiu, in terms of abjection. In contradistinction to analyses that represent abjection primarily as a psychic property or pathology, I read abjection as a state of social exclusion or rejection perpetuated by socialized individuals. Stewart's provocative vocal performances in Xiu Xiu dramatize the conditions upon which these exclusions are formed and enforced, illustrating the connection between abjection and the normative aesthetic expectations by which we assess the moral status of others."

"This thesis is an exploration of some of the discourses arising out of the current ecological crises (Haraway 2016; Horton 2017) and argues that radio art is a constructive method for opening out practices of listening, for helping move beyond anthropocentric dialogues, and simultaneously beyond the constraints of dominant modes of storytelling. Ecological Thinking (Code 2006) and concepts of Planetary Time (Dimock 2003) are a useful framework from which to view contemporary radio art practices because they accentuate long and complex networks of interconnectivity, not only within nature, but, more recently, between living beings, technology and the environment. By identifying the interconnectedness of radio and transmission, and the possibility for immersion not only in the content but the process of the medium itself, it is hoped that recognition will be given to the necessity to think ecologically (holistically) in order to create sustainable symbioses between humans, technology and the living and 'non-living' entities of the planet. I begin by providing an outline of anthropocene discourses intertwined with radio and radio art practice. Then I describe and contextualize the radio art work 'chorus duet for radio' (Donovan 2016), positioning it as an example of a collective, trans-scalar listening encounter. I move on to posit radio as a valuable medium from which to critique and disrupt masculinised and westernised (radio) histories, and as an outlet for feminist, queer, and speculative re-tellings of the past. History is viewed here in the same way as electromagnetic radiation: as matter to be untangled. Finally I use the garden radio art project Datscha Radio17 (Schaffner 2017) to give an overview of how radio can be implemented in an expanded way to examine many of the interconnected themes of this thesis: the anthropocene, radio art, ecology, human and more-than-human networks, listening, speculative storytelling, and disruption. This thesis is an explor

"This thesis is an exploration of some of the discourses arising out of the current ecological crises (Haraway 2016; Horton 2017) and argues that radio art is a constructive method for opening out practices of listening, for helping move beyond anthropocentric dialogues, and simultaneously beyond the constraints of dominant modes of storytelling."

"Audio papers resemble the regular essay or the academic text in that they deal with a certain topic of interest, but presented in the form of an audio production. The audio paper is an extension of the written paper through its specific use of media, a sonic awareness of aesthetics and materiality, and creative approach towards communication. The audio paper is a performative format working together with an affective and elaborate understanding of language. It is an experiment embracing intellectual arguments and creative work, papers and performances, written scholarship and sonic aesthetics."

"In order to design a computer game soundscape that allows a game player to feel immersed in theirvirtual world, we must understand how we navigate and understand the real world soundscape. In thischapter I will explore how sound, particularly in urban spaces, is increasingly categorised as noise,ignoring both the social signicance of any soundscape and how we use sound to interpret and negotiate space. I will explore innovative methodologies for identifying an individual's perception of soundscapes. Designing virtual soundscapes without prior investigation into their cultural and social meaning could prove problematic."

Journal articles focused on underwater listening.

"The artists who contributed to this final chapter of YCTM examine the sonic response-ability of the world that struggles to free itself of humanity. Starting with memories and dreams intercepted by sound in film and moving towards the felt effects of climate change and extinction, the chapter holds space for an empathic future where human-centred civilities become holistic code. This chapter is co-presented with Infrasonica and with Kunsthall Trondheim."