‘the female voice, by contrast with the male’s, ‘is incapable of sounding natural without a visible body. By virtue of its inherent ‘inadequacy’, it is as if the female voice clamors for cannibalism, for an alien body, for pulpy, heavy mouths just waiting to devour. According to Adorno, the female voice requires a supplemental body.’… Continue reading Archaic Oceanic Fantasy
Category: Year Two
Whale and bone bells
Some of the sounds I made for this collaboration. Whale Sound The sound was made with a combination of Ableton’s Operator (sinewave) and Native Instruments Micro Prism. Both of these were played and pitch bent, and later layered and ran through reverb. The intention was for the music to stop playing once the right melodic… Continue reading Whale and bone bells
Serra’s Examples
Keiichi Matsuda’s – Hyper-Reality Augmented Reality experience on media saturation. Plays with physicality/virtuality. Final Stage – Showdown At The Lake House |Real-time performance| Studio Visit: Stages One, Two, Three, & Final” is a semi-satirical walk through the Rolfes virtual performance methodology; a fake Let’s Play that pulls apart the motion capture, VR puppetry, and dramaturgy… Continue reading Serra’s Examples
Vapors
affections vaporeuses = vaporous ailments – referring to air transmitted diseases such as hysteria ‘For Pomme conditions of suffering, convulsion and paralysis are all caused by a hardening of fibres related to a dryness of the body.’ – Citation and Distortion: Pierre Pomme,Voltaire and the Crafting of a Medical Reputation The term ‘vapors’ was used… Continue reading Vapors
Immersion
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
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