Posted on | March 26, 2015 | No Comments
An attempt to work on hyper-stimulation’s impact on ourselves, and on the resulting mix of void and anxiety. This is not a technophobic production but an observation of the exhaustion that comes with a certain way of being in contact with the world – or how sounds and information become intruding and break in our intimacy.
Un essai autour de l’impact de l’hyperstimulation, et de l’angoisse en découlant. Ceci n’est pas une production technophobe mais un constat d’épuisement face à un mode d’accès au monde qui le rend invasif – les informations et les sons devenant intrusifs, entrant de force dans notre intimité.
Posted on | March 23, 2015 | No Comments
InharmoniCity realizes an urban symphony by using sounds normally hidden from our perception and revealed through unusual transducers.
The track “Girl Running,” establishes a dialogue between the sounds synthesized with Xenakis’ UPIC and the sound outputs of invisible electronic objects. By carrying these magnetic fields into the audible range, the sounds have been suspended, intimately researched, and orchestrated in order to cross the physical borders of aural perception.
The goal is to expand the simple concept of presence, a searching for perspective and distance without creating virtual spaces, while pragmatically integrating aural environments in the compositional process. The work is an attempt to recover our capacity of phonetic discrimination, without the fear of looking for the silence around us, avoiding singularities that get lost in an unbalanced aural environment. The imperfections in each sound/noise and the silence, free from any insurgence of distortion, are locked in a conflict of eternal existence and interdependence.
Silence not as Emptiness, but as living presence that precedes the life of men and goes further than death.
The sonic materials are then played and re-recorded in real environments, not generated through digital reverb devices. This technique, often used by sound designers such as Ben Burtt and Walter Murch, is called “worldizing.” It consists of playing through a speaker the sounds created, and re-recording it with one or more microphones in different locations (garages, churches or other spaces which have interesting aural characteristics). This way, it is possible to realize several effects, i.e. the classic Doppler, by quickly moving the microphone in front of the speaker in order to vary the frequency of the sound wave (to observe this phenomenon directly, simply listen to the different sound frequencies of a siren when it gets close and then far away).
In the track “Invisible Words,” the radio waves make up the sound sources together with sounds generated by an old Olivetti typewriter. These recordings, after being processed using micro-montage techniques, have been presented in different metaphors. The most interesting appears in the final phase, where a quiet stream of structured pulses mimics, in an almost onomatopoeic manner, an attempt to emit a sound/word with a closed mouth; a painful impossible action, almost as if there were invisible words spoken inside the same mouth.
Posted on | March 9, 2015 | No Comments
«ALL NIGHT FLIGHT» is an immersive nocturnal ambient sound excursion in honor of World Listening Day 2013. «ALL NIGHT FLIGHT» is a wide-ranging sonic odyssey which reflects ecologies of many kinds: environmental (ocean sounds, wildlife, atmospheres), religious (calls to prayer and ritual singing), radiophonic (data transmissions, Morse code, folkloric music), and beyond. The listener experiences “natural” sounds juxtaposed with “unnatural” sounds, robotic speech mixed with human speech, field recordings of electronic amplification carrying human sound across rural environments. Weiskopf’s hope is that the listener will be able to hear the world as he does: an endlessly recombinant sonic field where every noise, song, and sound, regardless of its source, takes its place in a perfect, haunting, and eternal arrangement.
Performances started between 9 and 10 PM PST and run all night, mixed continuously, until 5 or 6 AM. Weiskopf rejects traditional concert settings in favor of remote, rural, desert, or undocumented areas.
This edition, produced exclusively for Radius, is a 73-minute distillation of the inaugural «ALL NIGHT FLIGHT» performed, created, and mixed live by Myke Dodge Weiskopf in the desert of Joshua Tree, California, on 20 July 2013, 10 PM – 5 AM PST.
Posted on | March 5, 2015 | No Comments
“The Haystack” addresses modern practices for data gathering and surveillance, approached through the development of evolving sonic landscapes. Four chapters are compiled, each drawing from different methods of data monitoring, including tapped telephone calls, recorded conversation, the sonification of network traffic, and the internal sounds of communication technology itself. Haystack is the sound of dystopia, as told from the eyes of a machine.
For more work by Micheal Dean please go to https://soundcloud.com/m-dean-1
Posted on | March 2, 2015 | No Comments
(Foto: Adolphus Opara)
Posted on | February 23, 2015 | No Comments
“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 sem- blance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physi- cal fact, but more as a way to smooth out any irregularities my speech might have.” Alvin Lucier
Posted on | February 12, 2015 | No Comments
Pour l’émission 514, Jet FM donne Carte Blanche à Julien Quentel, plasticien nantais. Voici ce qu’il m’écrit à propos de sa pièce réalisée pour Radia :
Tout cela restera bien énigmatique, comme l’est d’ailleurs le noir de la nuit!
je n’ai rien à revendiquer, ni la prise de son, ni la technique, ni même un lien affectif avec le lieu…
rien de tout ça, juste ce qui reste à l’écoute, que l’univers est dans la nuit.—
** English version**
For the Radia Show n°514, Jet FM gave “carte blanche” to Julien Quentel, visual artist from Nantes. This is what he wrote me to present his piece :
All this will remain well enigmatic, as the dark of the night !
I have nothing to claim neither sound recording, nor technology, or an emotional bond with the place …
none of this, just what is left to listen, that the universe is in the night.—
Posted on | February 9, 2015 | No Comments
V rednem februarskem terminu platforme RADAR predstavljamo in poslušamo delo ‘Ničesar ne smemo imeti za samoumevno’. Pogovarjali smo se z Markom Peljhanom, enim izmed avtorjev projekta.
WE SHOULD TAKE NOTHING FOR GRANTED – ON THE BUILDING OF AN ALERT AND KNOWLEDGEABLE CITIZENRY is an audio-visual installation and performance set of works that address current positions and politics of privacy, surveillance and safety of the global citizenry and their relationship to the military industrial complex. The title is based on a quote of US President Dwight D. Eisenhower’s famous Farewell Address of 1961 wherein he warns of the dangers of an unchecked military industrial complex1, government funding substituting for creative free thinking within higher education, and the extraction of the earth’s natural resources without consideration for the future. Clearly, the address is extremely relevant today in light of the Snowden2 and Klein3 massive surveillance revelations, creative thinking vs directed research as well as the continued resource extraction on a massive global scale. However, the speech is not a dark forecast for the future, but instead states that ‘…an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals…’ The project uses Eisenhower’s speech as the foundation for a set of works which address the central issue of the creating conditions for the development of an ‘alert and knowledgeable citizenry’.
Posted on | February 5, 2015 | No Comments
A closed circuit formed by a loop that exploits the digital technology in VHS and a magnetic field, activated by the magnets of a powered speaker for the diffusion of audio. This system ensures the maintenance of an onanistic process that leads to constant and progressive disruption of the audio and video signal supported by the magnetic tape of the VHS. The residual audio, which gradually loses quality, is channeled into a mixing system and spread through the same audio speakers that degenerate the sound source itself.
Posted on | February 2, 2015 | No Comments
Cathy Lane, Anguy Carlyle (ur.) - In the Field: the Art of Field Recording (Uniformbooks, 2013)
Salomé Voegelin - Listening to Noise and Silence. Towards a Philosophy of Sound Art (Continuum, 2010)
* STAY TUNED: 2. marec – intervju z Emeko Ogbohom, nigerijskim zvočnim umetnikom.keep looking »