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.


Released 2014: Fibrr Records, Nantes, France Opensound CD (Fibrr Records)

Also tracks by Apo33, Audiolab, Granular, NK, Piksel and Wajid Yaseen (Modus Arts, Uniform, Scrapclub)

opensound_cd_cover

2012 (226)

Self-built photo-sensitive digital synthesiser

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Performances
October 3rd 2012: Klangkunst Mutiny I @ Ms Stubnitz

November 21st 2012: Klangkunst Mutiny II @ Ms Stubnitz

27th August. 2012: Piksel , Bergen, Norway







Opensound Project. With Audiolab (ES) and Apo33, Nantes, France.

http://opensound.eu/audioletters

Sound Performance with Gisle Froysland. Piksel

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Trio with Wajid Yaseen and Colin Hacklander. Kosmo, Bergen, Norway.

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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Trio with Wajid Yaseen and John Hegre, Metasonic Festival, Lisbon, Portugal


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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

http://www.ixem.it/
http://hexler.net/software/touchosc
http://puredata.info/