Fragments in Time
(2022)
author(s): Tobias Leibetseder, Thomas Grill, almut schilling, Till Bovermann
published in: VIS - Nordic Journal for Artistic Research
The processual sculpture "Fragments" is in permanent development and consists of artefacts of the "Rottings Sounds" project of artistic research*. Waste, things collected, things stored and things put aside, texts, pictures, data, sounds etc. are the basis of the shape-changing work. It is located at the Auditorium of Rotting Sounds. For this exposition, media representations of physical fragments have been arranged, then subjected to multiple stages of erosion processes specific to digital data. Object or exhibition, museum or archive, collection or documentation are moments of intrinsic research and decomposition, accompanying the process and resting in the distant but immediate eye of the virtual observer.
*"Rotting Sounds – Embracing the temporal deterioration of digital audio" is a cooperation of the mdw – University of Music and Performing Arts Vienna, the University of Applied Arts Vienna and the Academy of Fine Arts Vienna. It is funded by the Austrian Science Fund (FWF) as project AR445-G24.
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.
The Informed Performer
(last edited: 2023)
author(s): Joost Vanmaele
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Playing a musical instrument is generally considered to be a complex human behaviour involving the integration and coordination of a broad range of human functions such as perception, imagination, memory, information processing, emotion, communication, and dexterity. From this perspective, it seems only reasonable to assume that, in an age of informational and communicational abundance, this intrinsic multifacetedness manifests itself in numerous informational contact-points between musical practice and a variety of academic and para-academic fields which zoom in on these specific elements of musical activity. Joost Vanmaele’s dissertation is directed at carefully and systematically evaluating the position of musicianship in an age of informative abundance and connectedness, to consider ways of re-balancing and broadening its epistemic grounds and attuning its information systems, with a view to artistic development, enrichment and/or liberation. By proposing a Bio-Culturally informed Performers’ Practice of Western Art Music [BCiPP], an information- and dialogue-friendly, transdisciplinary space is created where musical activities are not considered as phenomena sui generis but rather as informable cultural instances or personal particularisations of the human capacity to meaningfully generate and react to temporally patterned sounds. The potential impact of BCiPP is put to the test in two case-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.open exposition comments (0)