Group items tagged

Podcasts surveying the history of sound collage since the begining. The program mentions three types of sound collages. Sequential sound collage that uses an editing technique that is not dissimilar to film editing technique which later developed to Electroacoustic and Acousmatic music. (most Musique Concréte, cut ups, Negativland, Cassetteboy etc) Sound collage that augments a particular rhythm, musical and narrative theme (some hip hop, bastard pop, 2manyDJs, dancefloor mash ups, most music that has elements of sound collage) Simultaneous sound collage which superimposes layers of different musical sources over each other. The last category is the one this podcast focuses on for the latter half of the 20th Century until today. Warning:: PART ONE is a bit more of a difficult listen due to the experimental and conceptual nature of the sound collages in the early days."

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

"A bi-weekly podcast on radio storytelling produced by Rob Rosenthal for PRX and Transom."

"Before I began designing sound for podcasts, I assumed that there was a certain sorcery to it. There isn't. In fact, I discovered that I already knew all the fundamentals-I had learned them in my high school english classes."

"Extended Techniques is a podcast about contemporary music through the lenses of timbral innovations"

"What is sound art? And what do we know about its origin story? We explore this question and more with our guest this week, artist and educator Judy Dunaway. An adjunct professor in the History of Art Department at Massachusetts College of Art and Design, Dunaway's recent article, "The Forgotten 1979 MoMA Sound Art Exhibition," is a fascinating look at the history of sound art and highlights important contributions by female artists. In our wide-ranging discussion, we also hear about Dunaway's own artistic practice, from her work with latex balloons to transmission art to a "phone improv" show over BlogTalkRadio a decade ago."

In this podcast, we talk to Antye Greie about language, sound, and the body. At their intersection, the voice emerges, with its multiple resonances and different ways of introducing the voice of others through her own practice and space of visibility. Along the way, we look at her work and methodology, from the deconstruction of texts to the implementation of what she calls "feminist sonic technologies". Permeating everything, we encounter the memory and the experience of having been raised in the values and the political experiment of the former Eastern Bloc and feeling part of a silenced diaspora. Recorded: February 2022.

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on twelve radio stations around the world, with regular new additions to its broadcast family, and streams and podcasts here on its own website. framework is consecrated to field recording and its use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the globe that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework's goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is 'field recording' a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa. "

"PhD student Kate Carr has started an new podcast series 'Interiorities' playing sonic experiments and documents from this Covid-19 time of 'lockdown'. Episodes are being released each Sunday through April on Mixcloud and fortnightly from May. Sound works so far include contributions by Angus Carlyle, Leo Okagawa, Mark Peter Wright,  Salomé Voegelin, Stephanie Merchak, Margaret Harmer, Paula Garcia Stone, Iris Garrelfs, Martin Kay, Francois Houle & Scant Intone and many many more."

"ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project."

Love and Radio is an American audio podcast directed by radio producer Nick van der Kolk in Chicago, Illinois, USA. Each episode of Love and Radio consists of a mixture of fact and fiction, presented in a series of interviews and stories related to a theme.[1]

"framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on 5 radio stations around the world, with more to follow soon, and streams and podcasts here on it's own website. framework is consecrated to field-recording and it's use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the world that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework's goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is 'field-recording' a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa."

"Contrary to popular belief, and the writings of Jacques Cousteau, life beneath the ocean surface is not a silent world but a dense and rich sonic environment where sound plays a fundamental role in life."

"As our environments change, so too do the sounds they make - and this change in soundscape can affect us in a whole host of ways, from our wellbeing to the way we think about conservation. In this Podcast Extra we hear from one researcher, Simon Butler, who is combining citizen science data with technology to recreate soundscapes lost to the past. Butler hopes to better understand how soundscapes change in response to changes in the environment, and use this to look forward to the soundscapes of the future. "

"If the Universe is born and no one is present to hear it, does it still make a sound? Well, theoretically, yes. As this video from the US filmmaker John D Boswell (also known as Melodysheep) explores, where a 'thick soup of atoms' is present, sound is possible. Made in collaboration with the podcast Twenty Thousand Hertz, this short documentary deploys dramatic CGI visuals, a pulsing score and the voices of prominent scientists to explore the sounds of space - from those humanity has recorded to those we can only speculate about. While ostensibly an interplanetary journey, The Sounds of Space is perhaps most intriguing when viewed as an exploration of the physics of sound, and the science of how we've evolved to receive soundwaves right here on Earth. "

"David Hendy has a good idea. He is a professor of media and communication at the University of Sussex, and he's in love with noise-but not in the way you might think. Hendy is not interested in noise as mere meaningless din, but noise as a form of media conveying the meaning of a time, like when the world entered the industrial age. When listening farther back in time, one can see that the sound of bells ringing was a tool for the church of the Middle Ages to exert its power over daily life."

Podcast about Max Neuhaus' groundbreaking work Radio Net

"Dr. William W.H. 'Bill' Gunn (1913-1984) was a field recordist, conservationist and early populariser of nature sounds, recording landscapes in the Galapagos Islands, East Africa, Sri Lanka and locations across Canada including its Far North. A key technique in his practice and teaching was sound microscopy-slowing down the playback of his recordings to reveal details unable to be perceived at full speed. This presentation considers Gunn's slowing in relation to a range of contemporaneous practices of slowing (in speech therapy, music composition, etc.) as well as the context of his field and the 'slow violence' of ecological devastation. As listeners, we meditate on the wonder elicited from Gunn's human audience but also the absences, extractions and exclusions entwined with Gunn's exploration of musical microcosms."

"Evolving out of experimental art series The Hibernation Project, EARS HAVE EYES is an auditory exhibition space for sound art on the radio. Local, national, and international artists and musicians are welcome to submit their work, sharing spatial soundscapes, auditory aesthetics, spoken word, noise, poetry, experimental compositions, thematic interviews, and other recorded media on the radio waves across Treaty 7 Territory in Southern Alberta - and beyond."

"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."