Sound Culture Module

Sound, Writing and Critical Thinking

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Leading Reading and Listening module.

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Motion in Place Platform: Project Website

The Motion in Place Platform brings together a cross-disciplinary group to develop new technologies allowing researchers to move out of the studio,to map and measure the human experience and response when moving through places.

The MiPP team uses motion capture (mocap) systems to record different forms of movement data on site. A first system developed in collaboration with Brighton-based motion-capture company Animazoo, adapted their IGS-190m, currently the most advanced inertial motion capture system on the market, for use outside a studio. Using gyroscopic sensors attached to flexible suits, this system allows the collection of high-resolution, full-body data from two people in a fixed area over limited time periods, recording, for example, the movements needed to collect water from a well.

Member of Adachi’s Group at “Speaking Out” Symposium. Tate Modern, South Bank, London

This symposium focused on the use of the spoken word in artistic practice and its manifestations in sonic and audiovisual art works. Taking the lead from the recently published anthology of works Playing with Words: The Spoken Word in Artistic Practice, this event encompasses performances, talks and conversations by artists and researchers who employ spoken words as their material and inspiration.

Contributors included Adachi, Caroline Bergvall, Dani Gal, Brandon LaBelle, Cathy Lane, Oswaldo Macià, Nye Parry, Inua ‘Phaze’ Ellams, Imogen Stidworthy, David Toop and Trevor Wishart.

Organised by CRiSAP

http://www.adachitomomi.com/

http://www.tate.org.uk/modern/eventseducation/symposia/20795.htm

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/

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

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

Published by Graduate School of Culture Technology (GSCT), KAIST, Daejeon, Korea. August 2008.

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