In this chapter of Sounding New Media, Dyson discusses themes of embodiment and immersion through the work of Char Davies. First statement being made is that interactivity is not necessarily a requirement for immersion. He uses Osmosis and Ephemeral as examples of static, still experiences, that explore a state of being and becoming. bio-feedback VR… Continue reading Immersion
Author: Maria Grigoriu
Clicks and Crackles
One of my aims with my sound piece is to blend together organic and anorganic sounds. I am interested in the perception of intimacy in vocals (particularly female) and this idea of closeness. Going back once again to the vapours motif (?), I was watching a video a while ago where the dance of the… Continue reading Clicks and Crackles
Creative Sound Work References
For this unit I tried to shift my process backwards. I started by asking myself what it is that I am attracted to artistically and what it is that I want to make. Instead of coming up with a concept and area of research through my readings I tried to direct my reading towards the… Continue reading Creative Sound Work References
Questions?
I have been looking for a way to articulate my thoughts process for the essay. The way I have been thinking about it is in two main chapters: electronic glitch music , ‘post-digital’ and vocal performance (vocal processing, vocal cloning) from a cyberfeminist perspective? I am thinking of glitch music as failure and refusal (glitch… Continue reading Questions?
Listening, Jean-Luc Nancy
Isn’t a philosopher someone who always hears (and who hears everything), not who cannot listen, or who, more precisely, neutralizes listening within himself, so that he can philosophize? (p.1) Stravinsky – heard a mute man and tried recreating the sounds he made orchestrally in his compositions [listening] is a question of going back to, of… Continue reading Listening, Jean-Luc Nancy
The Grain of the Voice, Ronald Barthes
pheno-song = representation, expression; smothering of the signifier under the signified geno-song = the ‘diction’ of language; culmination of production where music actually works on language; The grain is the body in the singing voice, in the writing hand, in the performing limb. The grain of the voice is not – or not only –… Continue reading The Grain of the Voice, Ronald Barthes
2nd Crits
Quite a bit of progress was made by the second crits session. By this time we had a good idea of what the visuals are (except for the computer room). We had the musical parts and the bone interaction. The foley sounds were still to be implemented in VR which left the bedroom scene soundless.… Continue reading 2nd Crits
Interactivity
How is Interacting with Sound Different than Listening to Sound? Collins K. ‘most sound effects…fall midway [between music and noise]: like ‘sound-centaurs’, they are half language, half music.’ – Walter Murch 2005 Collins proposes that in the case of video games, the three modes of listening defined by Michel Chion are not sufficient. Three additional… Continue reading Interactivity
Sonic somatic: performances of the unsound body
‘No abyss is as familiar as one’s mouth; the unheimlich mouth. An internalized abyss which we presume to control, but which always exceeds such tidy precepts. The mouth is the meeting place of the sacred and the profane; sacred texts are salivated by the mouth’s viscosity; the Word is born in a cavity that tears,… Continue reading Sonic somatic: performances of the unsound body
What if you could sing in your favorite musician’s voice?
https://holly.plus/ Holly+ – deepfake version of the artists, allows people to use her voice. “Spem In Alium” by Thomas Tallis – 40 voices- walking around a u -shape? early surround sound experience? timbre transfer? DDSP? https://magenta.tensorflow.org/ddsp-vst Identity play? ‘what would it mean to allow a stranger as me? through me?’