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john roach

Sung Tieu Infra-Specter - Amant - 0 views

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    "In these works, Sung Tieu looks into alleged sonic attacks targeting the U.S. and Canadian embassy staff in Havana in 2016. This installation includes video, sound, texts, and architectural interventions that attempt to understand the incident, highlighting the impossibility of ever fully knowing what happened. Along these series of works, Sung Tieu also refers to other subjects related to the psychological dimension of warfare and acoustic weaponry, such as her research for the film No Gods, No Masters (2017) which focuses on Operation Wandering Soul, the U.S. military operation during the war in Vietnam in the 1960s"
john roach

Call for Works - Aural Poetics | Michael Nardone - 1 views

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    This call for works has a fantastic list of references for listening and aural poetics.
john roach

The Studio Museum in Harlem - 0 views

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    " Blurring the boundaries of perception, Nadine Robinson's installation alles grau presents an original soundtrack for modern civilization and an apocalyptic landscape of time. Translated from German, the title, alles grau in grau malen, means "to paint everything grey or pessimistically." The larger-than-life grey panels, speakers, smoke, light and throbbing acoustics are suggestive of Biblical depictions of the end of time. Robinson refers to these doomsday narratives as part of "the specter of Revelation," which "looms in the popular imagination today.""
john roach

Voice Yard - 1 views

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    "Voice Yard is an online space created to encourage people to listen and be heard. Used to perceiving our world mostly visually, we sometimes forget that sound is another important means of perception and communication. Every object reveals itself not only through its shapes and colors, but also through sounds, sometimes even more telling about its essence. We, humans, have always used our voices as an important means of self-expression and communication. There are familiar metaphors revealing its existential importance, such as "inner voice" and "voice of the heart," referring to an intimate "true nature" inherent in this human ability."
john roach

An Artist's Hunt for Singing Sand from Deserts Around the Globe - 0 views

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    "It's a sonic phenomenon that occurs in only certain pockets of desert around the world. The sound of sand grains shuffling down hot slopes that can recall the angry buzz of bees or the deep, groaning thrums of a didgeridoo group. Scientists refer to these shifting dunes as "singing" or "booming" sands, which for centuries mystified explorers from Charles Darwin to Marco Polo. We know now that these strange sounds are caused by the vibrations of grains avalanching, at relatively slow speeds, down dunes, and that the grain size and speed influence the notes of these curious hums of nature."
john roach

"Listening is a sacrifice." - Christopher DeLaurenti | Earlid - 0 views

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    "To read Susan Sontag's 2003 essay, Regarding the Pain of Others, with pencil scribbling references to current-day wars is to be expected. Hers is a profound rethinking of the intersection of news, art and contemporary depictions of violence and our memories of them. So, too, could the word "Ferguson" be readily jotted in the margins. Meandering the intersections helps us navigate memory well beyond any of the recent conflagrations between Black citizens and militarized police forces in U.S. cities. "
john roach

Made Famous By Nixon, The Phrase 'Silent Majority' Resurfaces For Trump's 2020 Reelecti... - 0 views

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    "Trump also tweeted about the "silent majority" - a phrase Nixon used to refer to when he asked for support."
john roach

What is echoic memory and how can it affect us - 0 views

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    "Echoic memory is a part of sensory memory and refers to auditory memories. The sensory memory that takes into account sounds that you've just encountered is a form of this memory type. Memories and sound are important aspects of your hearing and your ears, so we wanted to take an in-depth look at echoic memory, what it is and how it can affect us."
john roach

Feel the buzz: the album recorded by 40,000 bees | Music | The Guardian - 0 views

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    "We had a joke in the studio that they were the best band members we've ever had," laughs Kev Bales when describing the recording of Be's One album. Bales may have spent the last 30 years drumming with the likes of Spiritualized, Soulsavers and Julian Cope, but the musicians he's referring to here are a different kind of buzz band altogether: to be precise, they're 40,000 bees, and their activity forms the basis of One, a transcendental drone symphony between man and bee that is surely one of the year's most beguiling offerings."
john roach

Samson Young - 1 views

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    Samson Young's compositions, drawings, installations, radio broadcasts, and performances touch upon topics such as military conflict, identity, migration, and political frontiers past and present. Sound and its cultural politics are at the heart of a practice that interlays multiple narratives and references. The relationship between violence and sound is a recurrent line of investigation in Young's work, which is often based on extensive research.
john roach

Playing for time - Jem Finer - 0 views

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    Artist reference In this interview artist Jem Finer discusses his recent body of work with David Rooney, Curator of Timekeeping at the National Maritime Museum. In his Longplayer project Finer set himself the challenge to develop a 1000 year long musical score, working within the confines of today's technology and considering how sustainable the possibilities may be over time.
john roach

Bosonica - Diana Salazar - 0 views

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    "In theoretical physics, 'Bosonic' refers to the original version of 'string theory', developed in the 1960s. Although the initial hypotheses behind Bosonic String Theory have since been expanded and modified, the underlying principle remains intact; that the various properties of matter and force can be a reflection of the ways in which a string vibrates. The oscillating properties of these hypothetical strings determine the properties of particles and all forms of energy. As such, the theory proposes that the entire world may be composed of these infinitely small vibrating 'strings'. Bosonica is a sonic exploration of the concepts behind this theory. The sound material which underpins the work is predominantly sourced from stringed instruments, in particular piano, guitar (acoustic and electric) and cello. At times the original properties of these vibrating strings are very present and recognisable, however the work explores increasing blurring and abstraction, creating new constructions from the original material and presenting to the listener dense and abstract dimensions. Despite this, the untreated instrumental material consistently returns as a reminder that it serves as the building block from which all other material is derived. The use of 5.1 spatialisation magnifies the perceived kinetic energy of material. Small gestural fragments are scattered over the 5.1 array to form accumulative trajectories of sound, and the listener becomes immersed in the dark abstract landscapes generated by the sounds of strings. The work was composed in 2009 in the Electroacoustic Music Studios of the University of Manchester, UK. With thanks to Emilie Girard-Charest (cello) and Camilo Salazar (guitar)."
john roach

An International Archive of Sound Art - 0 views

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    Here's an impressible batch of scanned articles about sound art available for download.
josieholtzman

francisco lópez [ essays // environmental sound matter ] - 0 views

  • The birdsong we hear in the forest is as much a consequence of the bird as of the trees or the forest floor. If we are really listening, the topography, the degree of humidity of the air or the type of materials in the topsoil are as essential and definitory as the sound-producing animals that inhabit a certain space.
  • B. Krause to the proposal of a 'niche hypothesis' (3, 4, 5) in which different aural niches are basically defined in terms of frequency bands of the sound spectrum that are occupied by different species.
  • upon the explicit intention of expanding classical bioacoustics from an auto-ecological (single-species) to a more systemic perspective, considering assemblages of sound-producing animal species at an ecosystem level.
  • ...31 more annotations...
  • appraisal of other -sonic- components that are not reductible to the former. As soon as the call is in the air, it doesn't belong to the frog that produced it anymore.
  • No matter how good they can be, recordings cannot replace the 'real' experience.
  • Different microphones 'hear' so differently that they can be considered as a first transformational step with more dramatic consequences than, for example, a further re-equalization of the recordings in the studio. Even although we don't substract or add anything we cannot avoid having a version of what we consider as reality.
  • Although I appreciate very much the multitude of new sound nuances and the 'spaceness' provided by these technological developments, I don't have a special interest in pursuing 'realism'. Moreover, I believe these techniques actually work through hyper-realism
  • Now that we have digital recording technology (with all its concomitant sound quality improvements) we can realize more straightforwardly that the microphones are -they always have been- our basic interfaces in our attempt at aprehending the sonic world around us, and also that they are non-neutral interfaces.
  • the armchair environmental movement'
  • There is another seemingly unavoidable obstacle in this attempt at portraying aural reality: sound editing. Whereas the 'microphone interface' transfigures the spatial and material characteristics of sound, editing affects its temporality.
  • As I see it, this is a futile attempt to reproduce the world, that tends to become a kind of commodity directed to sofisticated entertainment or other forms of pragmatism. In its essence, a modern consequence of the same kind of mentality that long ago led to the creation of zoos.
  • We are much less inert for transciption and reproduction than the machines we have supposedly invented for these purposes. Compared to a microphone, we can either have a much more striking perception of such a human sonic intrusion or not perceive it at all.
  • Do we always realize that there's some distant traffic noise when our perception is focused on an insect call?
  • I don't believe in such a thing as an 'objective' aprehension of the sonic realiy
  • Not only do different people listen differently, but also the very temporality of our presence in a place is a form of editing.
  • Our idea of the sonic realiy, even our fantasy about it, is the sonic reality each one of us has.
  • I claim for the right to be 'unrealistic'
  • In the case of the 'Acoustic Ecology movement', although the scope of its activities is larger and there is a greater focus on descriptive aspects of sound itself (see, e.g., ref. 18), its approach essentially relies upon a representational / relational conception, sometimes also leading to 'encourage listeners to visit the place' (19).
  • I'm thus straightforwardly attaching to the original 'sound object' concept of P. Schaeffer and his idea of 'reduced listening'
  • The richness of this sound matter in nature is astonishing, but to appreciate it in depth we have to face the challenge of profound listening. We have to shift the focus of our attention and understanding from representation to being
  • When the representational / relational level is emphasized, sounds acquire a restricted meaning or a goal, and this inner world is dissipated.
  • Environmental acousmatics. The hidden cicada paradox Acousmatics, or the rupture of the visual cause-effect connection between the sound sources and the sounds themselves (22), can contribute significantly to the 'blindness' of profound listening. La Selva, as most tropical rain forests, constitutes a strong paradigm of something we could call 'environmental acousmatics'.
  • What I find remarkably striking is how the comprehension of virtually all approaches to nature sound recording is so rarely referred to the sonic matter they are supposedly dealing with, but rather to whatever other non-sonic elements of the experience of the -thus documented- place.
  • In my conception, the essence of sound recording is not that of documenting or representing a much richer and more significant world, but a way to focus on and access the inner world of sounds.
  • What I'm defending here is the transcendental dimension of the sound matter by itself.
  • A non-bucolic broad-band world Another widespread conception about nature sound environments regards them as 'quiet places', peaceful islands of quietude in a sea of rushing, noisy man-driven habitats.
  • As I see it, this certainly contributes to expand our aural understanding of nature, not denying quietude, but embracing a more complete conception
  • when our listening move away from any pragmatic representational 'use', and I claim for the right to do so with freedom (28).
  • I also defend the preservation and enhancement of the diversity of man-made sound environments and devices. The value we assign to sound environments is a complex issue we shouldn't simplify; under some circumstances, nature can also be considered as an intrusion in environments dominated by man-made sounds. In this sense, my approach is as futurist as it is environmentalist, or, in broader terms, independent of these categorizations.
  • I think it's a sad simplification to restrict ourselves to this traditional concept to 'find' music in nature.
  • I don't subscribe the coupling of nature to these schemes, by way of -for example- a search for melodic patterns, comparisons between animal sounds and musical instruments, or 'complementing' nature sounds with 'musical' ones (5, 25, 26). To me, a waterfall is as musical as a birdsong.
  • music is an aesthetic (in its widest sense) perception / understanding / conception of sound. It's our decision -subjective, intentional, non-universal, not necessarily permanent- what converts nature sounds into music.
  • sonic homogeneization, thus pursuing the conservation of sound diversity in the world.
  • To me, attaining this musical state requires a profound listening, an immersion into the inside of the sound matter.
john roach

Reference Library of Digitized Insect Sounds - 1 views

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    "The sounds of crickets courting and flies flying familiar to many of us, but have you heard a rice weevil larva eating inside a wheat kernel, a termite cutting a piece of wood, or a grub chewing on a root? Modern insect detection and control technology makes use of these subtle signals, sampled below. Most of the sound files on this page were selected from noise-free sections of recorded signal, but you can hear some typical background noises mixed with insect sounds at I below. The insect sounds have higher frequencies and shorter durations that make them relatively easy to separate from background."
john roach

COMPENDIUM translation missing: en, title_lquot Sound Art translation missing: en, titl... - 0 views

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    "Sound art encompasses cross-border art practices in which the acoustic element governs the recepient's overall perception as well as the structure of a given work. The visual sphere and the spatial dimension represent the most important references to sound. The most decisive factor differentiating sound art from music is the breaking up of linearity and of limited temporal duration."
john roach

Musical Instruments-Unique Unusual Odd Strange Weird Experimental Rare Wacky Musical In... - 0 views

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    Click to start the Grand Tour or select an odd musical instrument below to view and hear. Know of an odd instrument that isn't here? Let us know and we'll put it online!
john roach

Musical Instruments-Unique Unusual Odd Strange Weird Experimental Rare Wacky Musical In... - 1 views

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    great collection of odd homemade musical instruments
john roach

Project | conserve the sound - 1 views

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    "Conserve the sound« is an online museum for vanishing and endangered sounds. The sound of a dial telephone, a walkman, a analog typewriter, a pay phone, a 56k modem, a nuclear power plant or even a cell phone keypad are partially already gone or are about to disappear from our daily life. Accompanying the archive people are interviewed and give an insight in to the world of disappearing sounds."
john roach

Six Lectures on Sound and Meaning - 0 views

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    "Roman Jakobson (1942)"
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