Loading…
This event has ended. View the official site or create your own event → Check it out
This event has ended. Create your own
Please note:

Sonic Environments will run from Sunday 10th July until Monday 11th July
NIME will run from Monday 11th July until Friday 15th July.



View analytic
Sunday, July 10 • 16:00 - 17:30
Sonic Environments Papers 2 (stream B)

Sign up or log in to save this to your schedule and see who's attending!

Dr. Johannes Mulder: School of Arts Murdoch University, Perth,
Dr. Juan Parra Cancino: Orpheus Research Centre in Music [ORCiM] Ghent

ON SOLO – A PROGRESS REPORT

This paper reports on an ongoing research project around Karlheinz Stockhausen's historical work Solo (Solo, für Melodie-Instrument mit Rückkopplung 1965-6).1 Together with Dr. Juan Parra Cancino from ORCIM Ghent, we are teasing out the consequences of the (nowadays common) software replacement of the elaborate tape delay system that was used at the time of the work’s inception. Many of the technical elements (e.g. in and output levels, delay feedback level, output levels) were operated as prescribed by the score by no less than three technicians. These roles have now been integrated into software patches (e.g. MaxMsp or PD (Sluchin 2000)) but also an app for i-Phone and pad (Petrolati 2016). Software approaches integrate and automate the score to different levels, with one version going as far as integrating the soloist’s sound source into the digital domain (Esler 2006).

Even thought this work’s score is strongly prescriptive, like many of the composer works, performances and recordings of Solo have been augmented in different ways, most notably the addition of a layer of electronic music in the work’s first recording with trombonist Vinko Globokar (from 1969). Another freedom provided in the score for this work is the choice of different timbral modes (e.g. a choice of mutes in the case of brass players).

Where the proto-affordance of analogue tape is reproducibility, the proto-affordance of a computer simulating a tape system is much richer, with its ability to compute and facilitate interaction. At the same time, a computer these days implies a network, commonly the Internet. To simply reduce the computer to a simulator of older technologies and not exploring what digital technology affords seems to go against the grain of this influential work, and of electronic music performance.

In our research project we attempt to pull apart the distinct layers of input (soloist), delay system (software), level of control and loudspeaker system output (usually four channels). We have produced some concerts with these four layers performed either in the same venue, or in different venues (and even countries).


Cissi Tsang: Edith Cowan University WAAPA

HEXADECIMAL COMPOSITIONS – USING HEX DATA TO SONIFY IMAGES OF THE FOUND ENVIRONMENT

There have been numerous efforts to explore the relationship between the visual and aural, in particular in relation to converting one medium into another. The interchange between music and images can create powerful, evocative, multi-sensory and immersive narratives for both the audience and the artist. One method of relating the aural and visual is through data composition, where data from the visual is used to create the aural. This paper will discuss the usage of hexadecimal data in relation to the artist's own practice and experiments in sonifying the found environment. This practice combines music created from converting field footage and photographs into hexadecimal data and music visualisation, to offer multiple perspectives of a specific scene. The resultant works from this process are audio-visual pieces where both the aural and visual are intertwined. This paper will conclude with some examples of work.


Mari Ohno
FLOATING SOUND: ARTIST TALK 

We release extremely subtle sounds from inside our bodies which are hard to perceive. Although the sound is made by the body, it cannot be heard because of the limited audible range that a human being can hear. 
This work is a composition using the sound of the composer’s bloodstream as a sound source. All the sounds were created from the sounds of the bloodstream recorded mainly in an anechoic chamber. 
The purpose of this work is to deconstruct and reconstruct the components of personal biological information via computing. These sounds were composed to express another reality beyond the boundary of the animate / inanimate. 

 

Moderators
avatar for Cat Hope

Cat Hope

Associate Dean (Research), Edith Cowan Univeristy
digital graphic notation - low frequency sound - experimental music performance - digital archives for music and software - artistic research - artists in the academy -

Presenters
avatar for Johannes Mulder

Johannes Mulder

Lecturer in Sound, Murdoch University
avatar for Mari Ohno

Mari Ohno

Goldsmiths, University of London
Japanese sound artist


Sunday July 10, 2016 16:00 - 17:30
Conservatorium Room 2.14

Attendees (4)