Here is a link to a radio interview from 17 Dec, 2017. Fred Sugden of Loose Lips and I discuss sound, and at the end there is a brief listening experience performance. Then follows the remarkable Body Clocks, from Bristol.
Sometimes The Idea comes to you forcefully, and does not relent until you start to pay attention to it. Here is a story of one such event:
,,Eigenschaften” is a German word meaning “characteristics”, “features”, or “qualities”. It is part of the vocabulary set I am learning. Not long after I had learned it, I saw a YouTube post titled “Der Mann Ohne Eigenschaften” (“The Man Without Characteristics”), which is simply a woman’s voice repeating the phrase. I thought this was interesting, so I made a recording of it; this recording found its way into a recent Listening Experience performance in London.
I rather liked the idea that the phrase connotes; I often feel anonymous, featureless, without characteristics. This doesn’t bother me. The smaller and less distinct I am, the larger and more interesting my world becomes. I was happy to leave this little discovery behind while moving onto the next thing I need to work on.
Then came The Idea again, this time more forcefully. While reading this evening an article about the decline of empires, I came across a reference to a book by Robert Musil titled… wait for it… here it comes… “The Man Without Qualities” (,,Der Mann Ohne Eigenschaften”). The book is long, unfinished, and I haven’t read it. However, the Wikipedia article provides enough of a basic explanation. One phrase in the article that caught my attention was “…search of a sense of life and reality but fails to find it.”.
Suddenly it occurred to me that phrase describes the listening experiences project: A search for form and expression, but a search that often yields anything but these two things.
The Song Without Characteristics.
Das Lied Ohne Eigenschaften. A fitting idea for these times.
Here is a stereo reduction of a quadraphonic performance. The performance was held on Oct. 28, 2017, at Noiseberg/Atelier Äuglein, in Kreuzberg. Berlin. The event recorded here was the final event for DAT Walk. Thank you to Regis Lemberthe for putting together such a great experience.
The individual segments of the show are available here.
Live sounds/amplified objects by: Giulia Deval & Emilio Berne
Here’s a link about DAT Walk:
Here’s a link about Noiseberg:
This is a recording of a Listening Experience performance at The Haunt, in London, as part of a Loose Lips benefit for Fairbeats Music, on December 15, 2017.
Recently I have been collaborating with Aude Françoise on an experimental video art piece. Aude did the video, and asked me to provide the sound design. The title of the piece is “Mythologie Sous Marine”, and the current edit of the piece can be seen here:
This post is mostly a brain-dump of some information (actually, a lot of information) gathered over the past week as part of an effort to write a proposal for a sound art thing involving The QuadTool. Gustavo Alfaix suggested doing this, and I am grateful for his interest and help. Hylynyiv Lyngyrkz also provided some advice from past experience, for which I am again grateful.
I’m still figuring this stuff out, so there’s a chance I’m wrong about something, or am leaving out necessary information. If that’s the case, please educate me. So here you go:
Data sonification is, on its own, rather straight-forward: Find a dataset that has a time-series (meaning simply that the data changes over time), map listening objects to the data, season to taste and serve. Yes, that is a bit of an over-simplification, and should you be interested in more details, Shawn Graham’s post might be of interest. One takeaway from this article is the idea of organizing the sonification in terms of classification and clustering.
Sonification as a technical effort seems kind of easy, repeatable. What makes it interesting, what “aestheticizes” it, is the selection of the dataset, and the treatment of the data set.
Pitch/frequency information seems to be the most common axis to map the data onto. What I would like to end up with is a workflow to sonify data in the the quad listening space, rather than pitch-space. To put the focus of the work on the spatial domain, rather than pitch/frequency domain. Changes encoded/embodied in the data would be reflected in modulation of basic spatial patterns, rather than modulations in pitches/frequencies.
Here are some links from information about a software called Play-splom, received from Chris Sattinger/CrucialFelix: