Academic Research Article: Journal of Sonic Studies


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.

Spectral Traces: Live Set @ Live!iXem 2011, Sicily

[nggallery id=12 w=800 h=600]
4-channel spectral improvisation with Joel Cahen and Wajid Yaseen
CHIESA DI SANTA EULALIA (Istituto Cervantes), Via Argenteria Nuova 33, Palermo

These images document an emerging methodology for working with situated sound recordings (a term I prefer to field or environmental recording – perhaps phonograph is preferable). I do not consider these digital files to point backwards in time towards some imagined documentation of a contingency typified by excess. They do present some trace of dynamical spectral activity. Such activity I understand to occur both in the frequency domain and also a mythical, haunted domain of lack, loss and absence.

The spectrograms, while found useful when dealing with many recordings of various duration, are of course an abstraction of the sound itself – they do however present, by this very abstraction, a playful means of re-rendering the recorded sound into something other.

This performance, as part of the Opensound project also suggested to me to explore a means of realtime 4 channel spatialisation using FLOSS tools. This performance was my first live experiment using a mashup of TouchOSC/PD/Ableton to move though an recombinatory 4 channel matrix of the spectral abstractions

SZKIZ: European Artist Exchange Project: Poland/Austria/UK

SZKIZ is a European exchange project for musicians and artists working at the intersection of experimental electronic music, improvisation, acoustic instrumentation and visual art. The project is based on three fundamentals: the exchange of and cooperation between musicians and artists beyond national borders, the transfer of knowledge through the development of a common practice and the social discourse on music and visual art in Europe.

Fallen Songs From New Spring Hill

78rpms, popular music, hungarian, greek, Caribbean, american, british, arabic, jewish, calypso, jazz, soundtrack, country, ballad, rembetika, blues, childrens’

Spring Hill

dusty, unclean, dirty, unmixed, unmastered, surface noise, decay, reactivation

original shellac discs
collected Jafo, Tel-Aviv, Israel. Autumn 2010

by sainsŵn and 612 D.J’s

for Mathilda

“Ich Sitze in einem Raum” (for Alvin Lucier and Rainer Hoffman)

Location: Germany
Worktype: Composition
Materials: Recorded Media (Stereo Audio)


My sense of disconnection from the people of Bad Ems as a consequence of language and the reverberant nature of the Kunstlerhaus Schloss Balmoral architecture. I was working in a disembodied and digital process, where, despite my actual presence in Bad Ems, much of my time was spent online and isolated from the real-world context around me. Although this time was highly productive I decided to counter such work with a piece intended to connect me more closely with the people and environment around me.

I had made the acquaintance of Rainer Hoffman, administrator of the Kunstlerhaus, a few days earlier, we had managed an interesting conversation, and I had noticed that he had difficulties with his hearing, and spends the day with hearing aids (specifics of this?). I myself was experiencing a restricted access to auditory world around me, due to the building’s sonic characteristics, and my own poor understanding of German. I had for a long time wanted to try a version of Alvin Lucier’s ‘I Am Sitting in a Room’ (1970) and so proposed a collaborative work to Rainer.

‘I am Sitting in a Room’ is one of Lucier’s most well known works, and he has always encouraged interpretations of the piece. It is a work based in a short piece of spoken text, originally spoken by Lucier himself. The complete text of this original version is presented below:

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 semblance of my speech, with perhaps the exception of r-r-r-rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity nnnnnot so much as a demonstration of a physical fact, but more as a way to s-s-smooth out any irregularities my speech might have.

This short piece of text explains the work quite succinctly, and the final work was originally presented as a forty minute recording. I asked Rainer to translate the text into German, and whether he would be prepared to have his voice recorded for the purposes of the piece. He was initially hesitant, selfconscious about the way he speaks German, saying that people often comment that he speaks his mother tongue in a strange way as a result of his hearing disability. When however I explained Lucier’s own problems with speech, and that his own experience would add to the work, he readily agreed. Rainer’s translation of Lucier is as follows:

Ich sitze in einem Raum, der anders is als der Raum, in dem Sie sich gerade befinden. Ich nehme meine Sprechstimme auf und spiele sie ab, nehme sie auf und spiele sie ab, immer wieder – bis die Resonanzschwingungen des Raum sich selbst verstäken, so dass jede Ähnlichkeit mit dem Sprechen, auxer vielleicht mit dem Sprechrhythmus, ausgelöscht wird. Was Sie dann noch hören, sind die natürlichen Resonanzschwingungen des Raumes, gegliedert durch das Sprechen. Diese Handlung ist für mich weniger die Demonstration eines physikalischen Sachverhaltes, als vielmehr ein Weg, alle UnregelmäXigkeiten, die meine Sprache möglicherweise aufweist, zu glätten.”

The full iterative realisation of this work was carried out in the KHSB on the evening of 20th April 2008. The work is significantly different from Lucier’s, and the openness of his original intentions should be credited. My aims in attempting this work were met in the process of carrying out this work. I wanted a way to engage with the acoustic space of the KHSB, I needed some means of communication across a language barrier, I wanted to address my inability to speak or understand German and also to explore issues of authenticity with spoken German, interestingly fore grounded by Rainer’s inhibited access to the auditory. I would take this opportunity to thank Rainer for his participation in this work, and to hope that he enjoys listening to the transformation of his voice manifested by the acoustics of his daily place of work.