artist/ experimental composer from a rock music background; Works with real-time sound, reticent to what it means to record a sound. Interested in space separation uses ready-mades, interested in technology (entanglement)? The Loudest Sound In the Room Experienced Very Quietly -loudness as a conceptual sound experience as opposed to physical sound experience. A Room Listening… Continue reading Sound Arts Lecture Series (Week 6) – Adam Basanta
Category: Year Two
Ghosts and Hauntology
Some notes and discussion around the essay ‘Digital Ghosts’: Voice and Migratory Hauntings, written by Nermin Saybasili. There are a lot of ideas on the audio visual, how images and sound work together, but for now I’m just going to focus on the ‘ghosts’. The first few pages focus on the viewpoint I am looking… Continue reading Ghosts and Hauntology
Performativity?
I have been encountering this word a lot. ‘ an expression or utterance that does not just describe or represent an action in language but actually performs or activates something’ ‘performance as a mode of being in the world radically differs from representational forms of knowledge. In general, representation assumes a split between the representation,… Continue reading Performativity?
Envelope Extraction?
I have been thinking of possible ways of achieving the effect Florian Hecker is using in Chimeras on the voice tracks. Borrowing one sound’s envelope and lending it to another sound. I’m thinking it might be something I could use either in my audio paper when speaking about the bilingual brain or in the spatialisation… Continue reading Envelope Extraction?
The Acoustic Mirror, Kaja Silverman
The notion that cinema is able to deliver “real” sounds is an extension of that powerful Western episteme, extending from Plato to Hélène Cixous, which identifies the voice with proximity and the here and now—of a metaphysical tradition which defines speech as the very essence of presence. (p.43) fetishistic value which a surprising number of… Continue reading The Acoustic Mirror, Kaja Silverman
Composing with Absent Sound
Otoacoustic emissions are something I have been interested in for a long time, ever since discovering the work of Maryanne Amacher. Engaging the ear in such a way that it starts producing its’ own music is something that would suit the theme of embodiment I am looking into these days. It also interests me from… Continue reading Composing with Absent Sound
Voice for Performance
A few weeks ago I joined an evening class at the Royal School for Speech and Drama, Voice for Performance. For many reasons. Recalling last year’s experience with the radio element assignment where recording ourselves was required and what a struggle that turned out to be, I wish for this year’s audio paper to be… Continue reading Voice for Performance
Florian Hecker
https://www.jstor.org/stable/43832507?searchText=surround+sound+psychoacoustics&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dsurround%2Bsound%2Bpsychoacoustics&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A94eda45343339fcc07b612c6031b4946&seq=5#metadata_info_tab_contents Weighty questions are implied: how do we perceive sound differently in different physical contexts? How do we understand a text differently when we read it, read it aloud, or when it is read to us? What effects do the narrator’s accent, tone of voice and choices of emphasis have? What does the process of… Continue reading Florian Hecker
Surround Mixing Tips
A few tips I found useful and would like to return to next time I enter the Composition Room. ‘DON’T ever send signal to multiple channels at equal level One guaranteed way to ruin your surround mix is to send signals to multiple channels – especially adjacent channels such as the center, front left, and… Continue reading Surround Mixing Tips
Entangled, by Chris Salter
In this post I will gather a few fun facts from the chapter titled Sound. Luigi Russolo Cahill’s Telharmonium (1896) inspired by the work of Hermann von Helmholtz and Fourier ‘used Fourier’s principle of additive synthesis: more complex, polyphonic tones could be built up from the manipulation of simple frequencies or individual harmonic partials’ ‘the… Continue reading Entangled, by Chris Salter