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December 23, 2007

Everything I've ever done in my whole life

To begin, here is my first project: Download file. After that, I made the re-mix Download file of other projects. Then for the final my Yamaha keyboard fizzled out on me from a bad connection I had made and nothing was really quite the same with it, so I made the alternate final Download file. The alternate final wasn't enough, so I did an extra little project to try and compensate, and here it is Download file.

Moving on. We didn't get to go over my artist presentation, but I had made a powerpoint Download file on M. John Callanan for my presentation. The sound clips couldn't transfer too easily with the powerpoint file, so here they are, boom boom boom: Download file
, Download file, Download file. So that about raps up my life. I am happy to have had such a class like sound art, it really did open my eyes to new things which is good and healthy. Thanks


December 20, 2007

##%#--Tyler Hallett--Final--

I think the sound turned out a little better in this one...

Media Mill Video

December 19, 2007

##%# Tyler Hallett (Final)

So here is a version of the final...Media Mill has given me problems when compressing the film into a smaller format. It has been changing the sound so make sure to turn down your volume and to keep in mind that this not the right sound, its just way too loud, which really bums me out cause the new sound clips were really working well with the movement. I need help in finding a way to condense this film without effecting the sound. Besides that I am pretty happy with the results since this is the first time I have really tried to make a motion based instrument. With this project I wanted to take whoever interacts with the piece and transform their body and movement into something else. With this capability I could see it as a installation in a hallway or an area of high traffic, but I also could see it as a performance piece where I could combine movement and choreography. I like the fact that the visuals and audio clips can be easily changed so essentially I have made a instrument that can be changed and altered to provide new experiences each time I set it up.


Media Mill Video

Independent Project


View project here

Tyler Hallett--Lo--(1 minute)

here is another one minute sound piece.

Download file

Failing Format

This is an audio-visual piece that I made that reacts to the cursor movement. I see this more as an instrument than a video or audio piece. This work mostly deals with my connection and sometimes disconnection with technology. It represents how in my art and life technology plays a key role, but there is a constant struggle between reality, my own perception of reality, and a sort of technological reality that seem to collide or at least form how I view and create. I wanted to show a rather fragmented view because these forms of reality come together to form subjective views that seem to inspire me in different ways. By dealing with my body it shows some sense of reality or the realness of a person in front of a camera. The colors and multiple bodies represent my own aesthetic take on reality, while the pixelated video and weird computer noise represent a sort of technological reality or technological take on reality.



Download file

Dancing and sounds

Well I suppose I got the idea from the two stories told to me by Diane Willow. The student (John) who had done a touch contact floor and another student who boiled a piezo in water. Both of these interested me for the reasons of
(1) They produced interesting sounds and (2) The latter was so simple in it's execution.

I don't try to hide the fact that I am completely inexperienced in sound art both in naming famous artists, and the use of equipment/software used etc. Because of this, I went with my "Pump It Up" video game.

My idea sounded easy enough. Wire 5 piezos to each of the 5 contact buttons on the pad, cut out the audio
and you wouldn't be able to hear anything except the sounds of foot stomps.

First I tried soldering the piezos as we had done in class. Bad idea. In trial runs they didn't last more than a few hits before they came undone. So low-tech was the answer with good old packaging tape.

After making several trips to Axeman and Radio shack I had my setup ready for class. I had only had time to test it using a friend's guitar amplifier so I had no idea if it was going to work that night. And we all remember the results.
I couldn't tell if the lack of sound at certain parts was a result of poor wiring on my part, or if the piezos I had chosen were too old, or bad wiring. The interesting thing for me was the song I had chose "Rolling Christmas" was a favorite of mine. I had played this song a million times yet my performance was a bit lacking. I know it's probably part nerves performing in front the class, but it was also the lack of music. I had no idea how big a part being able to hear the song played in how well I did at the song.

Photo Sharing and Video Hosting at Photobucket The foundation of my entire piece

Photo Sharing and Video Hosting at Photobucket This one is actually a side project. I tried freezing a piezo in ice to see what would happen. Nothing, zip, zero. The ice completely stopped any vibration from reaching the Piezo. I suppose that's why it sounds so quiet during the winter. Ice and snow, nature's insulators.

Download file
Finally for those who were dying to know what Rolling Christmas sounds like, here is an mp3 for your listening pleasure.

In closing I want to just say this has been a fun experience and one of the most interesting art classes I have had
the pleasure of taking. I got the experience to work with and observe the works of so many interesting and talented people. Everyone seemed to take their project in their own direction for a truely unique experience. I wish everyone the best of luck in all future projects. Later.

Tyler Hallett--Off Shore Off Duty--(1 minute)

Here is the first 1 minute sound piece.

Download file


Download file

Embodied Sound Experiment

So, we each made a piezo (spelling?), and thought I would put mine to use. I tried all kinds of things, but my most successful endeavor was when I did not try at all. this piece, entitled Cellphone Junkie, is the result of letting the peizo just do its own thing, after picking up cell phone reception. This is also the last assignment of my undergraduate college career!

Cellphone Junkie

December 18, 2007

This is a site-sound piece

There was no category for 'embodied sound,' so here is my site-sound piece.
Two-minute Morning

My belated thoughts on SAD

How did your experience the ambient sound within the exhibition space?
There was not anything in the exhibition that really resonated outside its designated area. The only sound pieces were enclosed and it was up to the visitor to interact. The only ambience was coming from outside with the heavy storm, giving the entire presentation, and an already depressing concept, more emotion.

What was the role of sound in the artworks presented in the exhibition.
I feel the role of the sound art pieces was subdued. I feel there were more impactful pieces in the exhibition, and that Labor Camp Study Room B was more about politics than the disorder, making it out of place.

Describe a sonic experience that most fully tuned you into the exhibition theme SAD.
Aforementioned, the work in the exhibition that took forms outside of the realm of sound were more intriguing and representational of the feelings associated with SAD.

I feel Charles M. Lume’s piece “The Still Time? illustrated the idea of SAD in the most effective manner. The purpose of the piece was to visually show how there are only two seasons in Minnesota—summer and winter. Summer was sandwiched between two winters, one light and one heavy.

Summer was represented with an arc of little cocktail umbrellas advancing toward the ceiling—symbolizing unreachability. The elevation of the objects also made me think of how summer is like a dream—it is such a cherished, divine period of time, that unfortunately zooms by in a flash.

The light winter was depicted through the placement several spread out little mirrors on the ground. From a personal standpoint, I feel Lume used mirrors as the object representing snow to show how a person with SAD literally becomes a part of the season and the emotions associated with it.

The heavy winter was not visible right away in the gallery – which directly symbolizes heavy winter storms and the heavy winter months. The snow keeps falling and falling, while the temperature keeps on dropping and dropping. It is such a dramatic shift in our lives—we have to snow shovel, our cars have to warm up, we have to find our winter clothes, etc. It is a whole other dimension. In the case of this installation, it was a whole other wall in itself, where the viewer had to walk around to another section of the gallery. Here, hordes of little round glass pieces were scattered on the floor, complemented by icicle-like objects poking out of the wall.

Surround Sound Static

My main objective of this project was to focus in on radio interception and static that drives us all absolutely crazy. Conversely, I strived to display this in such a manner that would be enjoyable to the ear, through the multi-faceted nature of a surround sound stereo system.

While some of the radio excerpts were displayed exactly as I heard and recorded them, others were modified and layered with other sounds to give them more depth. I extracted hundreds of songs, commentary, and commercials from various stations (AM and FM) from my car radio, for hours, in the freezing cold, with the car turned off. I then began organizing the clips in a narrative, yet out of the blue kind of way. What I mean by this is that I wanted a variety of different types of sounds, music, and talking to give the piece some dynamic. I often chose songs that were hilarious to me (I concluded with a country song “The more I drink, the more I drink….the more I….drink!?), and songs that are just terrible (the “shizzo izzo? club mix). I extracted commentary that was politically and religiously correct (“I don’t think I want my kids singing ‘o holy night’ in public schools and five-star sayings (“the balder you get, the sexier you get?).

I broke up the piece into three sections: the first predominately static with minimal interception, the second based around that Lisa Loeb song with a way better song of the era intercepting it (this one was intentional: Beastie Boys ‘Sabotage’), while the third was based around an authentic interception of ‘Dancing in the Street’ with three other songs coming in and out).

I wanted the surround sound element to be a surprise to me as well as to the class. I think surround sound is an amazing technological advancement and further shows how deep sound can really go. If I would have presented the piece with preconceived notions of how it sounded, it would have ruined the presentation.

Brian Eno’s ‘My Life in the Bush of Ghosts’ attributes to the inspiration for this project. The album relied heavily on layered percussion and analog technology. That was nothing new to Eno, but all of the vocals on the album are radio recordings that he recorded from the radio in the United States. This includes Arabic singers and radio disc jockeys. He often layered them to produce a new meaning.

The attached clip is the final audio mix down of the piece, but remember to take into account that it is suited for a surround sound stereo.

Surround Sound Static

Independent project documentation

I found inspiration for making a synth in the things made by Tim Kaiser and the aesthetics of noise music. Tim Kaiser builds these beautiful looking custom made effects pedals, synth boxes, and modified and completely original instruments, many of them housed and adorned in old and forgotten materials of older ages and generations. I was excited by the idea that anyone could make these things. I wanted to make something like this that I could call my own and be used as an instrument. The aesthetics of noise music also emphasizes the DIY approach to making sounds. Would you rather spend tons of money on professionally made electronic equipment, or build it yourself for much less and learn much more in the process?

And it's also about that Radiohead adage, that "anyone can play the guitar." Anyone can twist some knobs, or connect pedals to make a feedback loop, and in the process have fun with sound. Musicians and artists are commonly mythologized as the only people that have a right to make music or create art, when that's not really the case. I think John Cage and the early pioneers of sound art and experimental music were on to something when they dispelled that myth and attempted to close the gap between listener and performer.

Here is a short, badly recorded example of the sounds created by the synth box, in this case wired so that three signal generator circuits generating sine and triangle waveforms are routed into the same output to modulate each other:
Download file

In the process, I've short circuited entire systems, snapped plenty of wires, and cursed at myself countless times. I've also learned that coffee does not help you solder, but a few beers will steady your hand and make the process all that more enjoyable. Just plan out what you're going to do before you start drinking! I've learned about the characteristics of sine, triangle, and square waveforms, and how they act when interacting with each other, and how to power multiple circuits with the same power source, and how to read circuit diagrams to figure out what resistors on the circuits would be good points to alter (in effect circuit bend) in order to get even more out modifiable sounds of a signal generator. I'm now studying circuit theory and planning on making my own diagrams and boards in the future, to give an idea of where I've been taken in this line of inquirrrrry. There's a very interesting world contained in these ridiculous looking cities of copper lines, resistors, capacitors, transistors, and so on.

On another note, I read this the other day about Russian experimental composer Arseny Mikhailovich Avraamov:

His most famous work was Simfoniya gudkov (Гудкова? ?имфони?, "Symphony of factory sirens"). This piece involved choirs, factory sirens, cannons, foghorns, artillery guns, machine guns, hydro-airplanes, steam whistle machine, and conducted by a team of conductors using flags and pistols. It was performed only once in 1923 in the city of Baku.

If I had loads of money or some ridiculous grant and the physics knowledge of how sound waves travel from planes, I would create a composition made for fifty planes to fly in exact locations and at certain speeds and engine settings in the sky to create the most beautiful, droning ambient composition in the world. "Music for aeroplanes." That's all!

December 17, 2007

Public about Private

Hey all,

Attached are two portions that made up the audio of my "performance." The part called "backtrack" is the static part of the work that was not intended to be edited. The "flexfiles" was meant to be entwined cleverly with the audio that I stealthfully aquired, or would have stealthfully aquired was I not cursed. With this piece I was interested in our perception of security and privacy and how space , and walls in particular, can be deceptive. Oh, and I don't want my civil rights and liberties dissolved.

To be honest, I did not have other artists or their works in the forefront of my mind when forming the ideas for my piece. If I were, in retrospect, to examine potential subliminal influence I would name Guillermo Gómez-Peña. His work is highly critical of conservative, ultra-capitalist gov't regimes and also confronts racism by and of and to and for and at Latinos/as. Most importantly, in reference to my piece, he incorporates the Catholic confessional, albeit in a much different way. Check out: http://www.echonyc.com/~confess/
\ I'm not sure if that idea even came across through my piece, but I promise it was there.
I had initially wanted to build an elaborate set with an awesome black confessional-box-type-structure, and have the audience interact with it. That idea also involved stealth recording and playing back to the audience. Well, feasability reared its ugly head, but I/Rachel came up with a pretty great, I thought fool-proof, alternative. So props to artist Rachel Lundstrom and technition Karen Haselman for making what I was able to do possible.
The other specific, personal example operating in the audio was the notion of office space and cubicles. I worked in an office for a couple of weeks and was stuck by the false sense of security that a cubicle gives when conducting a conversation. Often times I was left with no option but to eavesdrop on the personal phone conversations of my co-workers in the cubicles adjacent mine.
Eventually, the overarching question of privacy and justice at a national scale comes in to play. My intention with the piece was to make this issue personal for every audience member and to offer many sensory and conceptual opportunities to do so. I had gleefully anticipated the slow realization that the audience would experience upon hearing the conversations they had just had slowly materialize over the last half of the piece.

Enough moping already, right?! Well, I appreciated all of your comments as well as your commradery over the semester.

Stay Gold.


Download file

Download file

December 16, 2007

This Is the Sound of

Here is my embodied piece -

This Is the Sound of . . .

December 14, 2007

Independent Project-Suture

In my own art, I deal a lot with identity. I hate my picture being taken, I despise it and most pictures of me and my friends are of me being held down while someone quick takes the picture. But for some reason, its very soothing for me to take self portraits. Very intimate and almost... cathartic? I don't know. I do it a lot though, and I've captured myself infront of a mirror every year for the past 4. Its the act of seeing myself while I take the picture.

I think my art shows people another side of me, one that is personal and maybe slightly uncomfortable--especially when it comes to my sexuality. I don't get embarrassed easily and I actually very comfortable with myself and my body. I want to push the envelope more, I want my work to be honest.

Maybe most people can't relate my work, maybe its very selfish of me to assume that I'm any different from anyone else. Who knows. I don't.

And sidenote: I'm not as dark as it may look.

As far as artists that inspired me: one was Frida Kahlo. I saw her exhibit and I'm so fascinated by the act of self portraits, and being able to transport yourself into other roles. It's also trying to show imperfections, your faults, its about being honest. I can only hope someday that my work can invoke the emotion that Frida's does. I also drew a bit from Steve Reich's Music for 18 Musicians, with his 'pulse work'. I liked exploring repetition in "Light", with the loops of two different 'pulses'.

I'd really love to continue in this vein. It's nerve wracking to show your work infront of people, especially when you're not sure how people will receive it. Thanks for the comments yesterday and the support. I'm going to keep working on this piece and see what changes I can incorporate in.

I've posted compressed versions of both videos on my photobucket page under the album Suture.


They're really crappy, just for space, but if you only saw one of them, you can see the other. There are also albums with some of my other works, especially Reversal which is kind of the first piece to this.

Hope everyone has an awesome Winter break. Hopefully I'll see you around next semester.

Steve Reich

Sorry this is so late guys.

I played excerpts from 4 pieces and they were:

Come Out tape, 1966
Pendulum Music (the cover performed by Sonic Youth, 1999) (original: microphones, amplifiers and loudspeakers, 1968)
Pulses (Music for 18 Musicians). 1974-1976
Tehillim I: Psalms 19.2-5 1980

I got a lot of information from his website stevereich.com and wikipedia. On his website there is information about some of his newer pieces which are very different from the early work I presented.

If anyone wants to hear more of Steve Reich, let me know.

Kelsey Dilts McGregor - Final Project - "Self Portrait"

Self Portrait

My motivation for creating this self portrait was tied up in thoughts I had of both living funerals and the idea that we present ourselves slightly differently to various people in our lives. I'm interested too in how we percieve ourselves vs. how we are perceived by others in our lives. There are some moments in this piece where I want to argue with what the speaker is saying or to deny a truth of something spoken. Part of the difficulty in gathering the interviews was attempting to be a silent bystander while both being an engaged participant in the conversation and trying to keep my interviewee at ease. As an aside, I was on the cusp of turning 30 when I started this endeavor, I believe I also wanted to have some kind of token to mark my third decade somehow.

To present this piece, I aimed for simplicity. I did not want any visual stimuli present, just a darkened space with maybe some soft lighting if any at all.

Kristen Oppenheim is one artist I felt my work related to. Her subject matter, while more blatantly feminist, is ultimately a self reflection. Perhaps a more obvious connection I share with Oppenheim is the manner in which our works are presented. Often, Oppenheim has only a single spotlight while the sound piece plays - a spotlight which shines on neither the audience or the artist but eludes to the "performance" of the sound.

Another influential artist, although she isn't a sound artist per se, is Nikki Lee. I was completely captivated with her work and simultaneously intrigued and mystified by her process. In many of her photography series, she explores self portraiture through the lens of others (certainly figuratively and perhaps even literally as she is never the person behind the camera). While her "others" were people who were "new" to her whereas my "others" were people who have known me for years, there is a similarity in both our processes. I cannot deny that I had her in mind when I started thinking about my project as her lecture this semester really stuck with me.

December 13, 2007

Background Noise/Background Voice

It is true. The sound dimension is a completely new language for me, at least in terms of making art with it. However, through the course and by reading Labelle's book "Background Noise", I realized that sound is an element that we always use and perceive and, moreover, that has a tight relationship with other aesthetic languages. That´s why Sound Art works opened the doors of a new era in our Contemporary Art. This is case of John Cage, the artist who prepared the field for the birth of new art expressions such as happenings, environments, Fluxus, Minimalist sculpture and music, and Conceptual Art. By changing the way we relate with sound as art , or more specifically, with music and the space where the music performance take place, John Cage inaugurated a closer approach to the idea of sound as a media through which it is possible to analyze and contemplate what surround us. "Music not only functions as a form of cultural output, but a platform for critical reflection" (B. Labelle). Another point that I found very interesting is the emphasis of the "here" and "now" that sounds offers. Sound can be found anywhere, in immediate and proximate spaces or objects that are part of our daily life, our own body, our own activities. Thus, it is not only played in concert halls or exclusive places for "making sound". The third spatiality that sound also gave to us. As Labelle describes it. Sound art, such as Concrete Music, defines the notion of Sonic Culture, defined into a particular space and locational cootdinates. This drives to the ast aspect that I actually use in my own work: The relation with the social space.

In Site Sound: A small piece of China

Download file

Erik Satie

This is the Power Point presentation of Erik Satie, the sound artist and musician I chose for the class.
I also recommend you to check out the following web pages:

December 12, 2007

Kelly Dobson: Machine Lover

*Especially those that missed my pres.(this mean you Kelsey!)
Watch the vids on her site:

Embodied Mix

Sound that I had the good courtesy to relieve my t-bone of. Oooo, please work.
Download file

December 11, 2007

Terry Riley-You like him.

Download file

Perhaps you would be interested in viewing his website? Here be it:


Also, here is the clip I really wanted you to hear during my presentation, but that tragically and embarrassingly did not play. It exemplifies the influence of Padit Pran Nath on Terry's work(its for realPlayer, sorry):
Download file

December 6, 2007

Ken Gregory

Website: http://www.cheapmeat.net

Sound Pieces:

"After the Tone"


The Soon to be Gone Wikipedia page


While we're here......


a moment

As I was walking down Lyndale Avenue tonight after browsing around Treehouse Records for a while (no dice! I did find a beautiful Acid Mothers Temple record that cost too much), I noticed something interesting. With the road packed with cars bumper to bumper, the stop-and-go dynamics of of the congestion combined with the varying squeaky tonalities of three cars' brakes in varying states of disrepair created a simple melody, F#-A-G, in high-pitched harmonic overtones, like three musical saws. As I continued walking I noticed a sound of whirring crickets intensifying. The sound died in a mechanical wheeze, and the sound became in retrospect a rusty motor. I continued walking, and the real hum of crickets began.

December 5, 2007

a little side thing

Download file
This is a little piece I did entitled 'Translation.' It is a based on a Billy Collins poem and asks, "Can poetry be translated?"

Transforming Noise Into Music

Hi all!
These are the links to the webpages of the artists I presented last week.
I'm not sure how to attach the powerpoint here. Sorry!

O+A (Bruce Odland + Sam Auinger)

Ear to the Earth


Lab Tour in St. Paul Campus

Hi all!
I'm sorry for posting this so late! Anyway, let's plan to meet tomorrow at 5:30pm in the St. Paul Student Center. The point is that getting to the lab is a little tricky, so if we all meet in the student center I can walk you to the lab. In order to get to the St Paul Student center you can take the Campus Connector and get down in the last stop. Let's meet in the second floor of the student center, that's where the dining room is.
Juanita will leave the Art Department at around 4:30pm. You can contact her (berri016) if you want and come with her.
My phone number is 612-868-9130, in case you are lost or a little late.

See you all tomorrow!
P.S. Remember to bring sound files and/or things you might like to record.

What is happening tomorrow?

Hi All,

I have not received an email from Alejandro nor did I find anything on the blog regarding where we are meeting in St. Paul @ 5:30. If others have heard and can contact me, or Alejandro himself, that would be great. My email is steu0033@umn.edu and phone number is (920)268-6339. Is that secure to put on a blog? Hmmm. Oh well, and Prof Willow, Are you aware if Karen Haselman will be around to assist our class tomorrow with lighting and other aspects of the performance space? And are we presenting project on Tuesday the 11th from 6-10PM. Do I have that right? Help please!

Thanks much,


December 3, 2007


i'm trying to get in contact with you but i don't know your email address. if you read this, send me an email at zhuxx104@umn.edu. peace.

also, something of interest:

December 2, 2007

where i've been going

for general electronic parts:

for cheap, simple oscillator kits:

for an idea of what you can do with just a few oscillators:

for good discussion about building, bending, and so on:

i've also been to abc electronics in town here in the warehouse district on diane's recommendation, and while i didn't buy anything, it was a fun time.

piezo elements

If you are interested in exploring the piezo and wondering where to find them,
here are some sources:

There are a few in the closet in W123. (immediately to the right as you enter the room)

Look in the gray plastic storage "cabinet" with ~ 20 little drawers (there are 2 such gray plastic storage "cabinets", the piezo elements are in a drawer in the one that faces you as you open the door. These were purchased from electronic goldmine (link below)

You can Order them from :


(these come with 2 wires already soldered to the piezo disc and are sold ~ $1 each)

Electronic Goldmine:
(these come with 3 wires already soldered to the piezo disc, you use 2 of these wires. They are sold ~ 3 discs for $1)


Locally you can call AxMan to see if they have any in stock. I recommend buying only the piezos that have wire leads soldered to the discs. Some will have 2 wires, some have 3. You will use 2 wires, but can choose 2 of the 3 wires as we did for the amplifier project.


Ed Osborn

Ed Osborn

The homepage is up at the top. It's got tons more stuff about his life, and his artwork that I wasn't
able to get to in the presentation. Here are the sounds links from the presentation as well as some other sounds I had planned to share. Some pretty cool stuff so check it out.

There Goes Swifty

Language Master