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.
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.
InCounter at the Bussey Building
A programme of video works and live sound performances exploring process and structure.
new sonic realities based in the dynamics and experience of movement in, between and through place and non-place. entities and environments. trajectories and tracings. mediation and event. themes of immersion, transit, non-human intelligences, infrasonic and ultrasonic forces. the work is entirely based upon notions of listening as composition. reception as construction. perception as the primary generative.
Underwater audio cinema. 4-channel site-responsive hörspiel commissioned by Newtoy Productions.
Live performance in Clissold Pool, Stoke Newington, February 2009.