OA#1: LISTENING AND MAPPING THE SONIC.
PLURALITY AND WAYFARING: WRITING THE OPENSOUND PROJECT
J. Milo Taylor, Carlos Alves, Xabier Erkizia, Julien Ottavi, Wajid Yaseen
This issue of the Journal is focused upon the emerging epistemologies, methodologies and ontologies of sound studies.
Contributors: Holger Schulze, Barry Truax, Katharine Norman, J Milo Taylor, Marinos Koutsomichalis, Axel Volmar, Florian Hollerweger, Michelle Lewis-King, Maarten Walraven, Walter Gershon, and Justin Patch.
with Dirk Specht and George Brock-Nannestad
J. Milo Taylor, George Brock-Nannestad, Dirk Specht
Kunsthochschule für Medien Köln
This paper approaches noise from a media anarcheological paradigm closely informed by Siegfried Zielinski’s notion of “deep media time”. The observation that noise is not absolute, but is variable is somewhat banal; yet if the temporal, methodological and aesthetic scope is extended beyond the conventional discourses around noise what implications for practice may be drawn?
The origins of the paper derive from a research fellowship undertaken at the Kunsthochschule für Medien Köln which dealt with sound, noise and listening as practice-based research methodologies. A selection of discarded shellac records (cultural noise) forms the material basis of this study. This media detritus contains program material created during a problematic yet arbitrary period of Cologne’s past (1929-62 – this period defined simply by the contingent array of shellacs found). These discs also offer today’s listeners traces and scars of the damage and decay these traumatised objects have experienced in their lifetime.
These material artefacts are noiseful in many regards: a conventional approach to archiving or preserving these might involve media migration into the digital domain after which processes of “noise-cleaning” may be undertaken. Such cleaning may aim to remove “noise” from “signal”. Yet how is such difference established? There are plentiful examples of problematic media cleansing – and a central issue explored in this paper is this distinction between what the authors frame as “primary” and “secondary” information.
Hence, issues around the context and techniques used during the original recording (e.g. frequency transfer functions), the means by which this recording is produced as a capitalist object (e.g. post-emphasis curves), and the subsequent unintended inscriptions upon the media surface in the course of the objects’ biography (e.g. careless handling) provide a deep media perspective upon the noisy media object.
WFAE 2011: Crossing Listening Paths
R. Murray Schafer, Katharine Norman, Allen S. Weiss.
‘Crossing listening paths’ is the main theme of the Conference of the World Forum for Acoustic Ecology, which took place at the Department of Music of the Ionian University in Corfu, Greece from 3-7 of October 2011.
The conference was endorsed by the World Forum for Acoustic Ecology and the Hellenic Society for Acoustic Ecology, was organized and co-sponsored by the Department of Music of the Ionian University and the Electroacoustic Music Research and Applications Laboratory (EPHMEE) of the Ionian University, and was supported by the Computer Music Laboratory of the Department of Music Technology and Acoustics of the Technological and Educational Institute of Crete.
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
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.
Essay Shortlisted for the 3D Visualisation in the Arts Network Student Award 2007