The Lost and Found project: Imagineering Fragmedialities
(2019)
author(s): Jenny Sunesson
published in: VIS - Nordic Journal for Artistic Research
The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture.
I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do.
To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method.
By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites.
I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).
Music City Excesses: Phenomenological Thresholds and Nashville Noise Regulations
(2018)
author(s): Michael Butera
published in: Journal of Sonic Studies
In this essay I will be exploring phenomenological connections between private and public interpretations of urban sound. First, I will briefly outline a theory of perceptual excess wherein the listener is unable to interpret sounds according to intentional auditory categories. I argue that listeners respond through various acoustic techniques that intentionally change the way spaces sound, reforming acoustic orders. I will explore this in the case of Nashville, Tennessee’s urban noise ordinances. Its constructed identity as ‘Music City’ requires strategic maintenance to ensure that certain sounds are given priority (institutionalize live music) while others are suppressed (pre-recorded music) or marginalized (busking). The specificity of these laws indicates a capitalist cultural nostalgia as well as a fundamental preference for perceptual stability for residents, tourists, and lawmakers alike. A common logic is drawn between the subject as a phenomenological individual and the subject as a listening/governing state. The ability to predict and control which sounds will be heard, to sustain a certain acoustic order, highlights the problem of the listener’s perceptual stability in the context of urban noise and silence.
The Hiss of Data
(2018)
author(s): Cormac Deane
published in: Journal of Sonic Studies
This article conducts an examination of the connections between the fantasy user interfaces (FUIs) of computers in the television shows 24 and CSI and the sounds that they emit. The resulting sense of computational activity produces what might be characterized as a digital subjectivity. The significance of this kind of subjectivity is considered in relation to: the historical context of contemporary television/cinema (‘TVIII’); the apparently cybernetic tendencies of complex screen environments; and the political ramifications of a logic of computation. The competing claims of the sound and the image to be the prior, determining factor are discussed. It becomes clear that the distinction between what constitutes information and what constitutes noise (audio and non-informational) is a key problematic both within the screen narratives in question and in the broader media environment that they occupy.
Thirty Sixth Series of the Next Kind of Series
(last edited: 2023)
author(s): Wim Kok
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The subject of the research of Wim Kok is __difference and repetition,__ an area which bears a direct relationship to Wjm Kok__s practice, in which the production of work always emerges and passes through series. It is also the title of a book by Gilles Deleuze that has been used as source and reference to explicate the research. Taking this book Difference and Repetition as a departure point, an ongoing series of writings was produced that sought to expose the different angles of the subject. The majority of these texts were published in diverse platforms, constituting an exchange with related subjects and his practice as a foundation for exploring other territories. A selected collection of these texts constitutes the dissertation. The presentation of this research will take place during the defense in the Grand Auditorium of Leiden University.
Revisiting the Gendy model from the perspective of noise transformation as a compositional method
(last edited: 2022)
author(s): Johan van Kreij, Jeyong Jung
This exposition is in progress and its share status is: visible to all.
The authors have been developing a technique called Noise Transformation that makes possible the on-the-fly instantaneous conversion of lists into continuous Probability Density Functions (PDFs) and the real-time redistribution of White Noise signals according to the list-style PDF prescriptions. One of the motivations for developing Noise Transformation was to create enormous possibilities in the choice of PDFs and the description of their in-time development in dynamic systems. The authors now attempt to apply the technique inspired by Xenakis to Xenakis’. The first step is using Noise Transformation in association with the Gendy model so that the synthesis uses the random numbers of arbitrarily drawn distributions.
Misuse as Creation in Electronic Music - A History and Practical Suggestion
(last edited: 2022)
author(s): August Norborg
This exposition is in progress and its share status is: visible to all.
In this thesis the author explores the term ”misuse” as a methodology of composition, but also proposes to view it as an informal tradition within the history of electronic music. The author explores the possible definitions of the term ”misuse”, proposing to view it as an inherently destabilizing practice, where the practitioner must reject the defining of a strict identity. The author also highlights the shift away from mastery of technology to a more equal, exploratory relationship that occurs within the practice, as well as its ability to chart the materiality of said practice. The author proposes that this tradition re-occurs historically as both a technical, aesthetic and philosophical phenomenon, serving as a progressive force within the wider genre of electronic music and often as part of a consciously rebellious practice. The author explores how this methodology can be applied within their own contemporary compositional practice using the software Ableton Live, chronicling their own explorations of generating sound via different misuses of the software, including sound examples. Finally, the author evaluates the applicability of this method on their own artistic practice through 2 attached compositions, and gives testimony to their experience and insights working with the material.
The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture. I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do. To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method. By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites. I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).open exposition comments (0)