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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

OA1

http://journal.sonicstudies.org/

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.

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.





11th September 2012: Die Alter Feurwache, Cologne
12th September 2012: Scheune Schall, Stommeln

Custom electronics,, live video (vvvv).

With Zsolt Sörés, Christian Skjødt and Andrea Pensado.

Curated by Georg Dietzler.
http://www.gerngesehen.de/

Raumklänge – visual notations – musik intermedial – No 1

Ahad`s Masters Garden | Musik für’s Deutsche Haus
Erstaufführung
Animationsfilm und live-elektronische Musik mit selbstgebauten Instrumenten

Zsolt Sörés I Budapest | HU
Christian Skjødt | Aaalborg | DK
J. Milo Taylor | London | UK
Andrea Pensado | Salem, MA | USA
Zeitsprünge: Alte Stummfilme hat Zsolt Sörés bisher als filmische Notenschrift für die Konzerte zu Ahad’s Masters Garden ausgewählt, diesmal gibt’s einen veränderten Ansatz mit einem neuen Computeranimationsfilm. Mal abstrakt, mal animierte Zeichnungen mit fliegenden Schallplatten, Wortfetzen sowie bewegten Werbegrafiken von Schellackplatten aus den 20/30ern »Musik für’s Deutsche Haus« aufgespürt im Archiv von a-musik, Köln. Mit Originaleinspielungen aus dieser Zeit, Deutsche Swing- , Jazz-, Tango- , Kirchenmusik und Chansons, kurz mit dabei: Marlene Dietrich. Das Filmkonzert, ein Hörspiel im Notentakt eines Films erzählt Zeit-/Geschichte/n mit selbstgebauten Instrumenten, Kurzwellenempfängern, Radiosignalen, Frequenzen, Klangverfremdungen.

Audio-Visual Installation / Live A-V Performance
Built with vvvv

Presented at:

12th September 2012: Scheune Schall, Stommeln (performance)

11th September 2012: Die Alter Feurwache, Cologne (performance)

12th-15th July 2012: Rundgang , KHM Cologne (installation and performance)

28th June 2012: Metasonic@ IPA, Lisbon, Portugal (performance)

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Sound, light and movement performance with Mariella Greil and Werner Moebius.

Worktype: Multimedia Performance
Location: Serpentine Gallery, London

The Sound Moneyfesto was launched by Lee Scrivner at the Manifesto Marathon 2008 at the Serpentine Gallery in London. The mp3 above is his demo of one of four compositions performed by the ensemble.

It used music, satire, and word play to comment on the 2008 banking crisis (specifically the failures of Fannie Mae and Freddie Mac) and the idea of sound money.

The Sound Moneyfesto was launched in concert with manifestos from Marina Abramovic, Brian Eno, Gilbert & George, Yoko Ono and Vivienne Westwood.