Soundscape Composition with Tito Rivas
Fonoteca Nacional, Mexico City.
Soundscape Composition with Tito Rivas
11th September 2012: Die Alter Feurwache, Cologne
12th September 2012: Scheune Schall, Stommeln
Custom electronics,, live video (vvvv).
Curated by Georg Dietzler.
Raumklänge – visual notations – musik intermedial – No 1
Ahad`s Masters Garden | Musik für’s Deutsche Haus
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.
Listening Strata: Tito Rivas & J Milo Taylor
The proposed work – a collaborative sound piece by Tito Rivas and Dr. J Milo Taylor – will be the fulfilment of a long-held mutual interest in working together. While meeting at a festival of contemporary dance (Oaxaca and Mexico City 2009) and spending time in conversation and experiencing interdisciplinary performances, workshops and discussions, a shared fascination in the possibilities of sounds and listenings was discovered. Both artists have, quite independently, and with their own particular working methods, continued to explore this domain since that time (2009).
Let us for example, accept an idea of sound as a creative practice. Within this practice we find a number of different groupings. An influential one of these, existing since the early publication of Vancouver-based Canadian composer/academic R. Murray Schafer’s The Tuning of the World (1977), is around an ecological and sociological sensitivity to the transformation or eradication of natural and historical sounds by an on-going homogenising modernisation.
A second approach might be described as documentary, or archival. Recent and ongoing work for both artists in archives in their respective cities (Mexico City, London/Cologne) and a shared critical use of phonographic techniques indicates some idea of sound as preservation. Recording and archiving these sounds somehow saves them from extinction.
Freezing time for a future listening.
Recording as testimony.
How you situate your work when you start recording is fundamental.
However nothing is ever neutral.
Another method – the self-named schizophonic – disregards the source of the sound and the notion of location would be entirely irrelevant to a another Schaeffer, the French engineer Pierre Schaeffer. For those following in this tradition, the work focuses upon fixed sound – the sound as presented by media technologies – tape machines, synthesisers, record decks, computers. In this domain sound is autonomous – it refers to nothing.
It simply is.
A sound in, and of, itself.
An object that is a not-quite-an-object.
Something separate from origin, site or location.
Francisco Lopez would propose these works as new realities – in, and of, themselves – new entities.
The use of recorded sound refers somewhat to its origin – it does point to the past. Yet it also exists and moves towards the future. A form of sonic time travel – the poetics of autonomous sound.
Combining these with other ideas, notably Zielinski’s “deep media time”, the artists are confronted by the area of archaeoacoustics, presenting a notion of the object as sonic : thereby durational, spectral, relational, in flux . As sounds appear and disappear, so objects seep through time – moving both from the past and to the future. Entities endue, but eventually decay.
They decay and they sediment – into strata – layers made in time, like the laying down of a lake bed or ocean floor. Igneous forces may metamorphose such entities into entirely other forms – how may sound and listening cultures be said to be affected by such forces, such a geological, metaphorical morphology?
We may, following this, accept an idea of a soundscape as inhabited by both humans and animals, organics and inorganics, the living and the dead. A notion of the poetics of sound always remain close to our practice.
We are proposing an urban sound-based project exploring exploratory ecological theory, social research alongside recycled soundworks to be presented in Mexico City (and London?). We suggest that spaces may be changed through a transplantation of mass sounds – a de-textualisation of one soundscape and the transformation of the other – if only for a short time.
The piece will be a sonic dialogue: between two continents, two cultures, two cities, two artists – sonic beings sharing space in time.
Recent ideas have been moving towards archaeologies of listening . Archaeologists work with objects. If we are interested in cultures of listening, how can we study sounds when they are not properly objects. The hearing act. How can we detect the archaeological strata of listening to discover how listening cultures are made. These are one of the area we would like to explore further and to inform to working methods
We are asking how we compose new things. Yet things new things are not that new.
What do Mexican people listen to and what about Londoners? Why does a culture follow specific sounds? This shows us how we are as societies. In what way? What are the shared structures that make these possible? How can this be articulated more fully, more poetically?
Inherent in the work will be a sounding comparison of listening cultures in London and Mexico City. We will take these sound documents, our recordings, and try to illuminate these. To create hypothesis. antithesis and synthesis.
Trio with Wajid Yaseen and John Hegre, Metasonic Festival, Lisbon, Portugal
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.
(3D Modelling by Szandor Dashwood)
Worktype: Intermedial Room Installation (Audio, Visual, Sculptural, Spatial, Cybernetic, Relational, Social)
Materials: Red Lasers, Directional Speaker Array, Custom Sub-Bass Presence, Smoke Machine, Custom Sensor Electronics, Darkness.
A darkened room is intersected by red lasers – malignant entities, whose role is uncertain. As visitors enter the space, their bodies activate the room installation. At the centre of the space, a black monolith is picked out by a single white spotlight – three sub-bass speakers are incorporated into this dense sculptural form and the room is filled with a thick wash of bass, sub bass and, sub-sub bass frequency. A feeling of dread denseness, at one time a comforting, unifying physicality, at another a malevolent force creating queasiness, claustrophobia and paranoia. The monolith draws visitors towards it like a black hole. Unknown to the them, the space is intersected by invisible lines of directional audio streams. As they move through the space these virtual channels of paranoiac transmissions, sinister and dreadful streams of intrasubjective terror, are seemingly broadcast into their skulls.
Dr Steve Goodman’s recent publication ‘Sonic Warfare: Sound, Affect and The Ecology of Fear’ will provide the experimental theoretical backbone of the proposed work. His discourse unifies a number of areas which are of great interest to me at this time: afrofuturism, entertainment-military sound practices, dub culture and urban experience. The curators approached me with a concept of ‘paranoia’, this, and Goodman’s work slotted together to provide me the inspiration for the proposed piece.
Construction by Don McLoglin and Oliver Gentili http://www.coroflot.com/o_gentili
Custom Circuitry by Michael Fisher, Lisa Hall and Ariel Karsh.
Lasers provided by Will Laslett
Thanks to Joel Cahen, Barbara Fuchs, Caroline Christie, Julia @ ASC and Kirk Woolford. Without whom, this would not have been possible. Diolch yn fawr.
Arduino / Electronics etc
1 x Arduino Uno
2 x Arduino Duemilanove
Power a car amp from the mains.
Skytronic 13.6V, 15A DC Regulated Power Supply
Juce JA 990 3000W Two channel Amp
2 x Audiobahn 15″ Drivers (AW1500V)
“Recent interest in the potential adverse human health effects of infrasound (generally inaudible sound with a frequency of <20 Hz) arises from health concerns expressed by the residents of Kokomo, Indiana. Several individuals in this community have complained of subjective non-specific symptoms including annoyance, sleep disturbance, headaches, and nausea. These symptoms are perceived by the individuals to be due to a low-frequency hum-like noise in and around their homes that is not clearly audible to everyone. Several local, state, and federal agency officials as well as acoustic experts in the academic community and private sector have been called upon to assist in investigating these health complaints. As yet, no firm conclusions have been reached regarding the relationship between this low-frequency noise and the residents’ health complaints." (http://ntp.niehs.nih.gov/ntp/htdocs/Chem_Background/ExSumPdf/Infrasound.pdf. Accessed May 2nd 2011) http://forums.makezine.com/comments.php?DiscussionID=3023
interesting future project? LDR’s combined with camera vision can locate position in 3D space. room laser harp.