presentations » j.milo taylor

Building Sound Symposium: Presentation with Mariella Greil

Building Sound is a project instigated by Ella Finer and Fabrizio Manco, PhD candidates at Roehampton University, London.

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The Building Sound symposium took place at the Olivier Stalls Foyer, National Theatre, Southbank, London, SE1 on Friday 5th February; 1pm-4pm.

Ella Finer and Fabrizio Manco each chose a selection of speakers to come together and describe what sound means to them; to provide an interdisciplinary hearing and sharing of ideas and definitions, leading to an open discussion.

Simon Fisher Turner
Stephen Cleary
Marcia Farquhar
Ansuman Biswas
John Wynne
Maggie PIttard
Jonathan Ashmore
Yvon Bonenfant
Mariella Greil and J Milo Taylor
Ross Brown

http://buildingsound.org/

London Sound Artists’ Working Group

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Facebook Group

The primary aim of this project is discursive – to create a real-world forum where people can meet, try out ideas, and enhance our understanding of what a contemporary ‘sound art’ might involve.

Sonic Arts Network Unconference 2008

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

The ImmApp: A Digital Application for Immersive Interaction with Sound Art Archives.

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

“Sound, Art, Auditory Cultures” Conference, Copenhagen

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

Digital Archive Fever: Computers and the History of Art

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

ICMC07, Copenhagen, Denmark. (International Computer Music Conference)

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.

Expedition Radio

Demo project developed with Richard Scrase and presented at the Royal Geographical Society