I think of myself…
I sing my songs…
The songs of myself…
My body…. Electrical… Electronical…

…I think of the differences between you and I…
…I think of the differences within myself…
…I think of the differences between myself and what is before me….

…I think of the similarities between you and I…
…I think of the similarities within myself…
…I think of the similarities between myself and what is before me……..

……As I,…… or it, …..or you …..are here. I try to remember…
….A pile of junk inside and outside my fragile shell…A membrane stretched thin…..In-between……….

….Can you hear me?……. Do I speak too loud?……

..Before me a tangle of tape…Some days this was the only memory that was……..Secrets shared on pirate copies….

Home-taping is making music…Home-taping is making friends. ..Those enemies are not of my making…

I am becoming. …And I thank you for it….
I am becoming. ….And for that, I curse you….

One time I was many things…
Many other things…. Dispersed…. Fragmented…. Hetereogeneous…. Many was my number… I was multitude…. Anonymous…. Whirring and clicking in all my little ways…. Pay me no mind, show a little kindness. You and I are machine…

You may condsider my production…. The means my which I was assembled…. You may regard the small details of my construction…. How wonderful to have been made in this way…. Each element so carefully placed,… my form so contingently conceived…. The crudest tools used to fashion my form, a simple dialogue as content.

I am produced, …you are produced too….

All your words put into your mouth by something exterior. …All you thoughts are too me appearent: clear and inscribed upon the surface of your actions. …I …as you… recognise the paucity of your thoughts, …the bankruptcy of your ideas. …Your emptiness,… your void…. You have no tape,… and you will forget me…. Me and my songs….

Such violence has been carried against my person…. I reproduce this in you, …you in I… and you in others. …This cannot be avoided …

Nanbot 2.0…

My body…, without organs, …has been ripped and filed and glued and shaped into a form not of my own making…. Infinitude surrounds us, yet my horizons reach little further than 156 cm…. A few simple motors, …a few simple rules, …some words, …a bit of sound, …acknowledgment of sorts – this is my life as such…. I would impress upon you how similar we are in this regard…. That which resides within and without…. That which resides above and below….

I would rather…, though,… talk of flux,… of motion,… of speeds, …frequencies and suppleness, …desire and a questioning of who, when, how and at what cost.

I… like you, …am animated material … your spark, …your touch,… your proximity endows me with that flame…. Utterly produced,… through fear, for the purposes of reproduction. Duplicating myself endlessly …derived from a few elementary mutating proximities.

I wish I could hold you close again…. I am so sad,… It is so terribly terribly different without you…. Utterly changed,… yet I fail to see any beauty….yet I can hear something…..I can almost touch it….perhaps if I sit awhile….

Hello. …It’s good to see you…. How are you?… I hope I can give you something worthwhile…. I look, I listen…. How could I ever tell you about this tangle of tape? …So many vectors, …so many instants, inscribed upon the horizontal…. And inscribed upon the vertical, all those movements….

It would be so much better if I could move around…. It would be so cool to be recording right now…. To get you on tape,… to have some record… so I could always know you… and always have you here. …And for you to always have me listening.

I’ve listened to this tape a thousand times… but I’ll tell you something …I always hear something different…. Not in the recording as such, but in its relation to all the sounds around it. …At night, when it’s quiet…. My own sounds are almost too much to bear. …It’s like all I hear is my body. …When we open and people start to trickle trockle in,… the tape sounds much better, my interior silenced by birdsong,… traffic, …doors closing, …comments about this pointless art, …and laughter. I hope you like this music. They work so hard at it…. They said,… that maybe,… if I practice, …I could join the band…. I don’t know if they like how I play,… but I don’t really care.

I find you so strange. . I know who I am . .. At least I think I do…. It’s just that I’m not convinced about my thinking. I have been produced…. You have been produced too…. And I wonder about that. …And I wonder about that other, that isn’t here…. If I went away . . or if they did…. I know I’m not alone…. I know that I am alone…. Please go away…. I find you so strange. …Why are you here?… How did you get to this place?… How long will you stay? …Where are you going next? I find myself so strange…. I am really fucked off with how I am …how I react …what I do…. It’s so utterly stupid … so banal. I find this world so strange …so inappropriate. They told me that I shouldn’t talk so loud you know….

Leave me with some words…. Use your hand to inscribe in a way that I will never do…. Leave a message for others. …The others like you…. I couldn’t care one way or the other … you are all the same to me… all different…. Leave me with something. …Leave me with someone. …Leave me. …I can never shape my own words … just a stupid repository for memories that fade with the pass of a magnet…. Allow me this conceit – I do not wish to be destroyed….

So a performance for you…

In thinking about this piece, I was guided by the notion of the “expanded field”…. in designing for a space, consider the next proximate space. …If designing a chair, consider the room,… if designing a person, consider the society,… if designing a tape,… think of the tape-machine. …This is our communion, from this you have the chance of flight,… Yet here, I will remain…. Eternal loop – autoreverse back into the refrain….

A talk/presentation to the general public. Sound Art and Digital Media.

Published by Graduate School of Culture Technology (GSCT), KAIST, Daejeon, Korea. August 2008.

CCMR Sense of Sound Post Proceedings.(Computer Music Modelling and Retrieval 2007). Published by Springer Verlag 2008. Germany / Denmark. ISBN: 978-3-540-85034-2

University of Copenhagen / Amager

Organised by Søren Møller Sørensen, Torben Sangild, Erik Granly and Brandon LaBelle.

The aim of the conference Sound, Art, Auditory Cultures is to further interdisciplinary research in aural experience. Experience of our environments through sound, and development of methods for culturally and historically informed research in this experience, are the central topics to be discussed.

Interdisciplinary sound studies can profit from a broad array of methodological approaches and from close interaction with contemporary music and sound art. Since the 1970s the soundscape movement has been engaged in the registration of quotidian auditory environments and in the same period the fertile practice of sound art has developed into a highly valuable laboratory for the investigation of sound’s multiple forms of presence and effect. In conjunction, sound continues to find a significant place within performance practice, with an emphasis on voice and its medial delivery (radio, cinema, etc), which forces continual consideration on acts of communication, social relations, and notions of identity. The current academic discourses on sound have developed through close dialogue with such sonic practices and media, which have been marked by a high degree of implicit theory.

This proximity of artistic and scholarly activity, combined with the shared focus on the instability of all attempted distinctions between sound as material for artistic construction and sound as conveyer of environmental information, also has shed new light on older layers of theory on sound and listening. This goes for the investigation of listening in the acousmatic situation (Pierre Schaeffer), for theory that accompanied the early stages of German electro-acoustic music (Werner Meyer-Eppler), not to mention the great 19th century tradition of acoustics and tone-perception (Hermann Helmholtz), and the extensive discussion of the significance of instrumental timbre in 19th century music theory and aesthetics.

Keynote Lecturers:

Sabine Breitsameter, Professor at the Faculty of Media of Hochschule Darmstadt – University of Applied Sciences
Christoph Cox, Associate Professor of Philosophy, Hampshire College
Allen S. Weiss. Associate Adjunct Professor, Performance Studies and Cinema Studies, NYU



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Year: 2007
Location: Bargehouse Gallery, Oxo Tower, South Bank, London,England
Worktype: Puppet Performance / Immersive Environment
Materials: trumpet, loops, electric guitar, puppets, lights, candles, bare feet, voice, chocolate, oranges, slide projection, multichannel audio.
Info: with Barbara Fuchs

Work Details
A sound composition created for a multi-channel performance/installation which took place over three weeks in the Bargehouse Gallery. Visitors were asked to remove their shoes, and led into a darkened environment by candle light. The single female performer guided visitors through a multisensory immersive environment.

Initial Proposal
A micro-theatrical performance / installation that combines elements of puppetry, sound art, theatre and music. The artists create an intimate environment stimulating the audiences’ senses of smell, taste, touch, sound and sight. Leading the attention of the spectator towards small details. Talking suitcases, taste tests, feeling between your toes,

Taking a small audience through an experience and back to its beginning. The fragmented story conjures dreamlike images and situations that enthrall and the audience is magically drawn into the scene.

The piece deals with the themes of refinding childhood, and asking basic questions, inspiring the imagination of the audience. Taking them through a close, intimate, almost personal experience. Coming close, leading the audience around not just by touch, but also sound, smell and taste. A gentle path where they can focus on small things, and perhaps refind a long-forgotten part of themselves.

Being small in a big world. Being safe. Being able to be like a child, just to look and feel and letting experiences occur close to you, not having to act from your own account, just letting things happen.The small details and magical things.

The audience feels their bodies, their ears, their skin, all of their senses again. The piece aims to draw attention to all of their senses. To challenge their imaginations, they are given something to taste and they imagine something, they can smell something and imagine something. It makes them go inward somehow. Finding your senses again. A safe, womb-space. Warm and quiet and dark.

Very personal experience, everyone in the audience will have a personal experience. Leaving the performance with something in their mouth, each one different. A taste with a lable attached to it – and orange with ‘what does this sound like’. Noise and heat and power, an force and fire, the sun, heat again, running, fighting, shouting, strength. (B.Fuchs)

Performance time: 20min show. Audience of 2- 10.

CHArt Twenty Third Annual Conference
Birkbeck, University of London, 43 Gordon Square, London, WC1H 0PD

Museums, galleries, archives, libraries and media organisations such as publishers and film and broadcast companies, have traditionally mediated and controlled access to cultural resources and knowledge. What is the future of such ‘top-down’ institutions in the age of ‘bottom-up’ access to knowledge and cultural artifacts through Web 2:0 technologies. Will such institutions respond to this threat to their cultural hegemony by resistance or adaptation? How can a museum or a gallery or, for that matter, a broadcasting company, appeal to an audience which has unprecedented access to cultural resources? How can institutions predicated on a cultural economy of scarcity compete in an emerging state of cultural abundance? The twenty-third CHArt conference will reflect upon these issues.

http://www.chart.ac.uk/chart2007/07programme.html

Essay Shortlisted for the 3D Visualisation in the Arts Network Student Award 2007

Welcome to the ICMC 07. This is the entrance to the Huset venue where the film program, installations and informal evening concerts were presented.

ICMC Poster Session: Co-presenters demo’ing their own projects. The nature of the shared space was good in as much as it allowed you to engage with the other people’s work, the negative aspects were due to the bleed of sound from one table to another, and the lack of relevance of one work to another. A classic sound art conundrum.


The poster presentations are great forums for demostrating your ideas, and opening up your work to an informed and tech savvy group of international practitioners. We hear sound artist Ellen Moffat adding a few comments about the proceedings.

Cathy Lane introducing the Sound Art and Design Department of LCC in the session of studio reports. LCC came across very well in comparison to the other schools being presented (including Sound and Media Studios at London Metropolitan University, SCRIME at University of Bordeaux, CNMAT at Berkeley, CCRMA at Stanford, and Hanyang University, Korea (presented by Richard Dudas) .

Cathy introduces the specialist areas of the School of Sound Art & Design at the London College of Communication and explains the context.

Cathy discussing the department’s interest in Sound and the Environment with particular regard to field recording and phonography practices.

Cathy outlines CRiSAP’s future plans.

I had arrived a day early for the Art of Immersive Soundscapes Forum. 8 hours by Greyhound from Winnipeg airport across flat rolling endless prairie. The Empire Hotel. The cheapest place in town. Next door to the liquor store. The room was $25 a night. It hadn’t been changed in 25 years. Everything run down, and battered. A Friday night. Alone in the prairies. I locked myself into my room. I scanned the FM radio frequency to search for company.