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February 28, 2009

DISSSIIIIIINNTEGRATIONNNNN

///BLOOD\\\ //DEATH\\
Click on the little HQ or HD button in the corner to watch in HD!

-tim

February 24, 2009

Vocal and Physical Presence

This sound site piece Vocal and Physical Presence is about a site's displacement from an origin. Specifically, my friend who is from Germany has lived here in the States for 3 years.

I recorded (without her prior knowledge) a Skype conversation between her and her father who is still in Germany. Although they haven't seen each other in a couple years, there relationship remains tightly knit thanks to communication vehicles; in this case Skype. I recorded the entire conversation in several different layers each one ending at a different length in time. Then, I changed the panned each track in opposite directions so the corresponding tracks seem to communicate to each other as well. At the beginning of the piece, all tracks are playing which sounds like a room full of people (although there are only two voices). As the piece progresses, the presence of the people in communication seems less and less until the final track plays alone with only the voice of the girl in the room by herself. My intent is to show that everyday long distance conversation via phone or webcam is often taken for granted or overlooked. It brings two people whose sites are geographically separated together giving a real presence to the person one is speaking to. However, this presence fades over time as reality sets in towards the end of the conversation.

silo

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Artist Presentation -Drew

I will present John Cage 1912-92, his influences, his development in chance and electronic composition and his usage of instrument, sound, and silence.


February 23, 2009

Sunday Background Noise-Kelsey (Site Sound)

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February 21, 2009

Siren-Kelsey

I really enjoyed this piece...I couldn't tell what kind of place the sound made me feel I was in: it all depended on where I was standing in a particular moment. I found the sound in the far left side the most fascinating...like being deep under water. It would be sweet if Ray Lee had ten times as many speaker arm swinging contraptions and placed them all in some desolate field and played it in the dark. And perhaps then he could have some of the arms up really high over head like those creepy white windmills one may see dotting fields.

February 18, 2009

Sound Art Presentation!

I will be doing my artist presentation on Baltimore sound artist/composer/musician Dan Deacon.

Here is his art collective's website http://www.whamcity.com

Here is his website http://www.dandeacon.com

I will be lecturing on his roots in experimental composition and found sound and his transition into more dance focused, crowd interactive music/song composition.

Also are you sick of looking at old art all the time, want a good blog for contemporary art and crap?
http://www.beautifuldecay.com

-tim

February 17, 2009

Soundlab.

I would like to present The Soundlab, a collective from NY.

February 16, 2009

3 Kelsey

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February 14, 2009

Listening In, Feeding Back

Listening In, Feeding Back is An Interdisciplinary Conference on Sound with special concert performance @ Columbia University, New York, February 13-14, 2009.


The impetus for the conference is described below.

***

In recent years, several North American academic disciplines, including history, anthropology, ethnomusicology, and media studies, have devoted significant attention towards practices of listening. The act of listening is undoubtedly an underexplored dimension of modern sensory experience -- and of modernity itself, which is too often characterized by an overdetermined regime of visuality. What can listening offer to emerging interdisciplinary work on perception, performance, aesthetics, social life, and the circulation of sound media? Listening is more than a given function of musical interpretation, which might attend to sound only in its deliberately aesthetic or openly communicative forms. Rather, it is a culturally-situated practice that shapes the particular spatial and material conditions of our perception. Listening influences the social distinctions of daily life, and is inextricably bound to aesthetic and bodily experiences with music and noise. And increasingly, characterizations of listening recognize its diverse practices as productive transcultural relationships, which in themselves constitute the globalization of media. Our experiences with sound are key to broad projects of self-making that rewrite logics of authorship and cultural origin through circulation and new modes of appropriation.

Adding the metaphor of feedback to contemporary inquires into listening encourages us to reconsider the creative social relations that develop within the distinct spaces and circulations of sound media. Feedback touches on the cyclical nature of people’s experiences with recordings, the recurrent relationships between different sites of listenership, the connections between production and consumption, and the many circuits of authenticity and transformation through which sound travels. Re-situating feedback from cybernetics and network theory into mediated social practices of listening helps to reveal logics of interconnection, emplacement, attention and subjectivity that have become crucial to cultural politics. Feedback loops challenge linear histories of music; the isolation of hearing as a sense (and of listening publics from each other); and the maintenance of distinctions between genres and categories of musical style and experience. Feedback instead offers links, circulations, and connections: not as closed tautological arguments, but cross-wired circuitries that recognize constant change, and also stress their own coincidental and unpredictable infrastructure.

Themes to be addressed:
1. The role of listening and feedback in the experience of media circulation
2. Listening as a conscious re-orientation of ongoing productions of knowledge (both in everyday social practice and in terms of received disciplinary problems)
3. Listening in the context of electronic media and technology, and the changing environments of musical production and reproduction
4. Feedback and listening as creative practices in popular music genres
5. Feedback as a revision of linear narratives of historical invention in terms of coincidence and simultaneity
6. Feedback in the transactions of new media networks, which challenge existing terms of communication, democratic exchange, and political control of sound
7. Listening in alternative modernities: aesthetics conceived through relationships of transcultural difference, colonialities, and histories of mimesis, imitation and influence

February 13, 2009

Bernhard Leitner-Kelsey

I would like to present Bernhard Leitner for my artist presentation.

February 11, 2009

MengTang3

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Chosen Artist

I would like to do my presentation on Umfeld. Primarily involving Scott Pagano's portion of their work.

3 Joe Kane

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Tim Sound 3

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Drew ss3

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Haley - sound 3

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February 10, 2009

Ben Hanson's 3rd Project - Community Remix

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Presentation Guide

Chose an artist or collaborative group of artist as the focus of your presentation.


Include the following in your Artist Presentation:


- Background information about the sound artist.

- Discuss what attracted you to the work of this artist.

- Highlight two examples of this artist's work and use these to describe the artist's relationship to ideas .

-Describe how these works relate to the artist's larger body of work.

- Relate this artist, via content, process, technology, perspective, etc. to that of another contemporary artist or artists from another time period.

- Discuss how this artist's work informs your own thinking.


>>>>>Following your presentation<<<<<

- enter a post on the blog that includes the information described above

- links to examples of the artist's work

- Statement describing how this artist's work and/or process informs your thinking.

3Ryan

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World's Longest Concert (John Cage)

Organ²/ASLSP (As SLow aS Possible) is a musical piece composed by John Cage and is the subject of the slowest and longest-lasting musical performance yet undertaken.

It was originally written in 1987 for organ and is adapted from the earlier work ASLSP 1985; a typical performance of the piano piece lasts for about 20 to 70 minutes.[1]

In 1985, Cage opted to omit the detail of "exactly how slow the piece should be played".

The current organ performance of the piece at St. Burchardi church in Halberstadt, Germany, began in 2001 and is scheduled to have a duration of 639 years, ending in 2640.

-Wikipedia

Check out John Cage on wiki

BBC coverage of new note:
http://news.bbc.co.uk/2/hi/europe/7880793.stm

Here's a blog that provides some more background on the location of the performance:

http://oddstrument.com/2008/08/12/the-longest-concert-ever-has-reached-its-6th-note/

Jared's Remix

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February 9, 2009

Max Neuhaus

This week we will honor Max Neuhaus

The NYTimes describes him as a percussionist who made Aural Artwork - site specific works of “sound sculpture?.

If you are a fan of Max Neuhaus and his work, feel free to bring in sounds, stories, ideas, reflections, to share.

I relate very strongly to this notion that he proposes at the close of his NYTimes obituary:

“Traditionally, composers have located the elements of a composition in time,? he once wrote. “One idea which I am interested in is locating them, instead, in space and letting the listener place them in his own time.?

There are some interesting Twin Cities connections:

Out text, Sound Art (pg 89) includes a photo of Water Whistle III – site in the Midway, St Paul YMCA in 1972 – that was produced by the Walker Art Center. Audible only underwater, this piece is experienced when people submerge their ears.

His site drawing:

1980 was the year in which ambient music composer Max Neuhaus installed 64 little loudspeakers around the base of the glass domo of the Como Park Observatory in St. Paul, Minnesota, so that visitors could supplement their appreciation of exotic vegetable forms below with relaxing, sustained electronic
tones. (from an Arthur Russell interview)

His site drawing:

February 4, 2009

ryan2

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Site Sound Sketch - Clay - Ben Hanson

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tim sound week2

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World Soundscape Project

World Soundscape Project

Drew Sound Sketch 2 wav

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2 Haley - office

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1 Haley - Obama

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SILOPHONE!

The French Canadians have good ideas:

http://www.silophone.net/

2 Joe Kane

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Marantz PMD 620

Coming soon the Marantz PMD 620.

Transom reviews it here.

Nation Under Reconstruction (from wk2)

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Drew

1. Around cycle five, I began to hear a distinct resonant frequency at the end of Lucier's phrasing.
2. I lost count after cycle ten, but only became aware of this well after the fact; I believe my interest shifted from the articulation of Lucier's words over to what was merging (distorting, expanding, compressing?) into various tones that themselves were sharing something almost melodic?
3. I found it funny, toward the end of the recording, that I had managed to forget most of what Lucier had originally said, even though what he said was articulated many times.

I'm sitting in a room.

1. When I first heard the track on cycle three or four it became this eerie feeling of someone speaking to me through a metal tube that was getting longer and longer. The volume not decreasing but the words becoming muffled.

2. I found that around twelve I could no longer hear any words just the articulation of the beginning of words.

3. I thought the piece was a three part cycle of spoken words > sound based from articulation of the original word > a final single sound wave of the resonance of the room.

Sitting in a Room - Jonathan

Three things I noted when listening:
1. At first, while I could still understand the words, my listening followed a certain pattern. At the beginning of each repetition, I would be surprised by how much his voice was colored by the new level of room tone, but by the end, I would be accustomed to it -- my ear would accept it as normal as long as I could still decipher the words.
2. Once the words stopped being intelligible, the room tone seemed to gradually converge at a certain pitch, which got more and more emphasized each time the phrase was repeated.
3. At some point, I noticed that the pitch I just mentioned stopped being so dominant, and the sound started to wash into more harmonics and "colors." Around this time, I realized that the pauses in Lucier's speech were starting to get filled in as well -- higher, more transparent sounds echoing the more saturated sounds of the spoken words...

i am sitting in a room - jared

I thought this piece was interesting because it gave life to the room.

The room took over what man had started. Over time (another key component), the room gained more and more dominance over the voice of the artist with each revision. It raises my curiosity to the possibility of having a somebody with a higher frequency of voice (woman or child) speak the words. Would this change the resulting resonance? Also, is it possible to design rooms with certain resonant responses?

Sitting in a Room - Joe Kane

1) The second iteration of the speech is when I began to hear distinguishable tones emerging

2) The first use of the word "Room" was no longer distinguishable after the first few iterations

3) Near the end, several tones produced very strange, awkward chord

sitting in a room._donovan

the first notable moment for me was at about the forth cycle. At that point i began to notice a distortion in his voice. Although i could hear a bit of reverb in the first three cycles it wasn't until the fourth that it started to become overly apparent.

the second notable moment was at about the tenth cycle. At this point i had an idea on where it was going and what was going to happen. At this point it began to sound more like an instrument than a voice. It made me think of a wah wah pedal.

after that i let my self get lost in the sound as it grew more and more abstracted. Somewhere around the 3rd quarter of the piece i honestly lost some interest in it. The sounds became a bit obnoxious. my mind started to wonder. I wondered if these piece was an installation at some point.I thought about redundancy of repetition, and the break down of information as well as memory. About ten minutes before the end i got back into it. I found it interesting that even the silent parts in the beginning were now washed with sound

Kitchen

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Sitting in a Room-Kelsey

Listening to Sitting in a Room made me think of death or the transition from life to death and how one exists, or the ways in which other cultures think the soul/spirit exists after death. During the first few repeats it sounded like he was in a tunnel getting further and further away. Later on as there was more feedback it sounded like the feedback from an amp when the volume is cranked up and the guitar gets too close.

February 3, 2009

"I Am Sitting in a Room"

Post your reflection as a series of 3 statements, each describing a distinct moment in your experience of listening to "I Am Sitting in a Room".

"I Am Sitting in a Room", Alvin Lucier

I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of r-r-r-rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity nnnnnot so much as a demonstration of a physical fact, but more as a way to s-s-smooth out any irregularities my speech might have.

Zoom H4 digital recorder

transom.org has an illustrated guide to the Zoom H4

m-audio guide

transom.org has some fantastic audio resources.

Including an illustrated guide to the M-Audio recorder

2 Meng Tang

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Independent Sound 5/12

Independent Sound 5/5

Embodied Sound 4/7

Embodied Sound explores Sound Art that emphasizes and explores the physicality of sound.

You may approach this through the physical presence of tangible or tactile modse of sound making, through some form of wearable sound art, an extension of your work with site sound that furthers
this exploration of the physical, tactile or corporeal presence.

Your embodied sound work may be inspired by the piezo and DIY mini-amplifier that you made, our circuit bending explorations , the sensor activated possibilities introduced via the arduino or a divergent interest that you bring to this project.

Inspirations for Embodied Sound may come from:

Iannis Xenakis's Concrete Ph

... or Ed Osborn's Night Music

Kelly Dobson's Blendie and her work with machines as companion species.. ... or her Wearable Organ series
featuring Scream Body

Kanta Horio's experiments with electro magnetism, teapots and more.

Walter Kitundu's experimental instuments including the phonoharp
... and Ocean Edge Device.

Playful new instruments such as Gili Weinberg's Beat Bugs and the musical shapers
href="http://www.cc.gatech.edu/%7Egilwein/Shapers.htm" Squeezable that Gil Weinberg and Maggie Orth developed for the Toy Symphony.

Maggie Orth's wearable musical jacket

and Jay Silver's drawdio.

Richard Lerman'
s sound work with piezo's may be i interesting.

Stephen Vitiello's Speaker Drawings may inspire or his World Trade Center piezo recordings may expand your notions of the contact mike.

Nicolas Collins and Paul D Demarinis
each explore the tangible and the sonic in astounding ways.


Post a sketch of your Embodied Sound idea and then add the documentation of your Embodied Sound work in this category.

Include image and sound files and, if relevant, a video of the the object, space or phenomna.

2 Kelsey

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Site Sound 2/24

Independent Sound

Embodied Sound 4/7

2 Jonathan

Sounds were recorded this summer when I lived on a boat on the Hudson River. I collected lots of different sounds of the creaks and bumps of the boats, and water sounds. This is an attempt to combine many of those sounds in a natural way that gives a feeling of a boat docking or arriving. The steady water noises at the end are from the wake of a passing motor boat.

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Site Sound - 2/24

Site Sound works will be presented in class on Tuesday February 24th.

Site Sound is a sonic invitation to experience a particular site. This site may be architectural, cultural, psychological, psychic, geographic, historical, botanical, material, ethereal, social, or other.

Consider the presentation of your site sound as well. How do you want us to experience it, where would you like to present it?

Consider the element of time to be a duration of 3 - 5 minutes.

two_donovan

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February 1, 2009

CLA - Studios at Rarig

Prosumer and Professional equipment is available via the CLA-TV Studios

CLA - OIT

CLA-OIT has loaner equipment available as well.

Equipment Checkout - Department of Art

You can reserve equipment at Equipment Checkout