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Experiencing Sound Installations: A conceptual framework 体验声音装置：一个概念框架
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-08-01 DOI: 10.1017/S135577182200036X
Valérian Fraisse, Nicola Giannini, C. Guastavino, G. Boutard
{"title":"Experiencing Sound Installations: A conceptual framework","authors":"Valérian Fraisse, Nicola Giannini, C. Guastavino, G. Boutard","doi":"10.1017/S135577182200036X","DOIUrl":"https://doi.org/10.1017/S135577182200036X","url":null,"abstract":"We propose a conceptual framework for describing and documenting sound installations from a visitor’s point of view. In the form of a taxonomy, the framework includes four complementary perspectives: sound sources, sound design approaches, visiting modalities and visual aspects. Its elaboration was informed by a review of contemporary sound installations in Quebec as well as a literature review on conceptual and theoretical frameworks on sound art and sound installations. Compared with existing frameworks, the taxonomy is useful for describing and comparing sound installations across meaningful perspectives from a visitor’s stance. To illustrate the potential benefits of the taxonomy and the diversity of installations it can portray, we provide a comparative analysis of four contemporary sound installations from different perspectives. We conclude with the use of this taxonomy for documentation purposes.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"227 - 242"},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48116910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
New Technologies, Old Behaviours: Electronic media and electronic music improvisors in Europe at the turn of the millennium 新技术，旧行为:世纪之交欧洲的电子媒体和电子音乐即兴表演者
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-08-01 DOI: 10.1017/S1355771823000109
Luigi Marino
{"title":"New Technologies, Old Behaviours: Electronic media and electronic music improvisors in Europe at the turn of the millennium","authors":"Luigi Marino","doi":"10.1017/S1355771823000109","DOIUrl":"https://doi.org/10.1017/S1355771823000109","url":null,"abstract":"Two improvisation scenes emerged in the late 1990s – Echtzeitmusik in Berlin, and in London the New London Silence – with similarities in aesthetic and approach. Among these is a tendency towards a more silent and less responsive style of improvising often referred to as reductionism, and the inclusion of electronic resources, with a complex interaction between the two. This article introduces these two scenes and their respective approaches, and uses interviews with key improvisors in each to interrogate the performers’ approaches to electronics, and whether this plays a role in determining and developing their aesthetic and performance style.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"131 - 143"},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44500420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
New Amateurs and Tricksters: A manifesto for music and sound creation 新业余爱好者和骗子:音乐和声音创作的宣言
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-07-19 DOI: 10.1017/S1355771822000310
Simon Fox
{"title":"New Amateurs and Tricksters: A manifesto for music and sound creation","authors":"Simon Fox","doi":"10.1017/S1355771822000310","DOIUrl":"https://doi.org/10.1017/S1355771822000310","url":null,"abstract":"This article considers some of the potential advantages that creators without formal training – Barthes’s ‘amateurs’ – have employed in collaborative processes to make sound art and also considers ways in which the approach may open fresh forms of social engagement. Drawing on the author’s collaborative practice in sound creation, Maria Lind’s classification of types of collaboration is extended to develop the notion of a ‘quadruple’ variant. This is based on the relationship between human and non-human collaborators. The role of the ‘Trickster’ is developed as a means of supporting and facilitating amateurs operating in a radical context. I propose, and provide a manifesto for, a category of the ‘New Amateur’ who addresses social engagement in sound practices in at least two ways. First, via structural dependence on a notion of collaboration significantly expanded to include not only other humans but also materials, ideas and both non- and post-human entities. Second, by drawing upon the anarchist ethics and concepts of the Trickster to democratise artistic potential through collaborative and distributed authorship. Thus, the manifesto reflects a political dimension rooted in the everyday and reveals a route to social engagement via personal creative awakening. The New Amateur offers fresh possibilities in music and organised sound and engages via an unleashing of individual capability to mirror the ‘lines of flight’ pursued by John Cage, La Monte Young and Alan Kaprow. The mechanism initiated in this way locates individual creativity in the context of mutual aid. Social engagement is driven by individual creativity and the explosive awareness of the potential this awakens.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"43 - 52"},"PeriodicalIF":0.6,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46249733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Sonic Collaborations between Humans, Non-human Animals and Artificial Intelligences: Contemporary and future aesthetics in more-than-human worlds 人类、非人类动物和人工智能之间的声音合作:超越人类世界的当代和未来美学
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-04-26 DOI: 10.1017/S1355771822000097
Martin Ullrich, Sebastian Trump
{"title":"Sonic Collaborations between Humans, Non-human Animals and Artificial Intelligences: Contemporary and future aesthetics in more-than-human worlds","authors":"Martin Ullrich, Sebastian Trump","doi":"10.1017/S1355771822000097","DOIUrl":"https://doi.org/10.1017/S1355771822000097","url":null,"abstract":"This article sketches a theoretical framework that allows the conceptual inclusion of non-human animals and artificial intelligences in human sonic collaborations. Post-humanist concepts that question the categorical divide between nature and culture, following Donna Haraway and Bruno Latour, converge with contemporary, non-adaptationist evolutionary aesthetics. Therefore, the anthropocentric ‘othering’ of non-humans gives way to a concept of a more-than-human sociality of sound. We offer some theoretical propositions for the extension of socially engaged sound practices to collaborations between humans and non-human animals and between humans and artificial intelligences, and then exemplify such multispecies sonic collaborations by analysing some existing projects from the fields of sound art and musical performance. After drawing some more general conclusions from these analyses, we hint at potential aesthetical and ethical parallels between animal and AI creative agency. Finally, we point out a few questions we see as important for future advanced settings of such collaborations, especially when it comes to assemblages of different AI technologies and to future concepts of animal–computer interaction that might enable non-human animals and artificial intelligence to cooperate creatively.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"35 - 42"},"PeriodicalIF":0.6,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44902033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Modular Journey: Uncovering analogue aesthetics in digital landscapes 模块化之旅:揭示数字景观中的模拟美学
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-04-01 DOI: 10.1017/S135577182200022X
A. Kitzmann, C. Thorén
{"title":"The Modular Journey: Uncovering analogue aesthetics in digital landscapes","authors":"A. Kitzmann, C. Thorén","doi":"10.1017/S135577182200022X","DOIUrl":"https://doi.org/10.1017/S135577182200022X","url":null,"abstract":"This article draws on a practice theory perspective to investigate instances of sound practice in a particular community of technology use by focusing on the community and product offerings in and around contemporary modular synthesisers and their growing popularity in the ‘Eurorack’ format in order to investigate the attraction and allure of analogue things in a digital age. This article identifies issues of authenticity, legitimacy and creativity as key drivers of the way we project our identities onto objects and the intimate technologies we own, and the search for meaningful technological encounters. In the realm of sound practice, the follow-up questions are similar: why when there is software and affordable digital alternatives, do some musicians swear by modular synthesis given the commitment this practice requires in terms of money, time, self-education and exploration (and for a lack of a better term) tinkering? With Eurorack as a case study, this article investigates the attraction and allure of analogue things in a digital age by investigating meaningful sound practice as emerging out of the discourses of online communities around the modular synth phenomenon.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"44 - 54"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44385917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Pop Materialising: Layers and topological space in digital pop music 流行物质化:数字流行音乐的层次和拓扑空间
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-04-01 DOI: 10.1017/S1355771822000243
A. Reuter
{"title":"Pop Materialising: Layers and topological space in digital pop music","authors":"A. Reuter","doi":"10.1017/S1355771822000243","DOIUrl":"https://doi.org/10.1017/S1355771822000243","url":null,"abstract":"This article argues that pop music’s increasing assimilation of hip-hop and EDM (electronic dance music) practices combine with computational automation and this has substantial consequences for musical space. Traditional ‘space-makers’ such as reverb or delay are subject to other functions such as frequency filters and compression that interrelate processual layers of textures. Instead of an active-listener-orientated sonic space with distinct source-bonded entities, it is based on a particular sonic materiality. With a new media theoretical approach, I consequently argue that this new type of space can better be understood as a mediatised topological materiality.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"59 - 68"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45984367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Topological Model in the Works of Yuasa Jōji Yuasa Jōji作品中的拓扑模型
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-04-01 DOI: 10.1017/S1355771822000267
Escande Marin
{"title":"The Topological Model in the Works of Yuasa Jōji","authors":"Escande Marin","doi":"10.1017/S1355771822000267","DOIUrl":"https://doi.org/10.1017/S1355771822000267","url":null,"abstract":"The oeuvre of Japanese composer Yuasa Jōji holds a singular place in the contemporary musical landscape. From the artist collective Jikken Kōbō, in which he took part during the 1950s, to his later pieces for large orchestra, and through his innovative electroacoustic and mixed-music, Yuasa single-handedly explored a vast number of musical issues across the twentieth century. This article aims to shed a new light on the composer’s substantial musical output through his interest in topological theories. It will be a question of showing through examples, the different outcomes of the application of this mathematical model in the musical domain, all the while demonstrating how it takes place within his nexus of influences, as a centre towards which many other of Yuasa’s interests converge.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"80 - 85"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46885832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Lo-fi Today 哦今天
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-04-01 DOI: 10.1017/S1355771822000188
Adam Scott Neal
{"title":"Lo-fi Today","authors":"Adam Scott Neal","doi":"10.1017/S1355771822000188","DOIUrl":"https://doi.org/10.1017/S1355771822000188","url":null,"abstract":"This article investigates two current incarnations of ‘lo-fi’ music and questions the extent to which these subgenres are actually low in fidelity. In essence, mainstream ‘hi-fi’ productions use similar effects, such as filtering to sound like a radio or adding noise to sound like a vinyl record. To understand lo-fi today, this article explores music by a lo-fi hip-hop producer and a lo-fi ambient producer, drawing upon the analytical methods of Alan Moore and Dennis Smalley. First to be discussed is Glimlip, one of the many anonymous producers behind the popular Lofi Girl YouTube streams. The next discussed is Amulets, an ambient musician known for using hacked and looped cassette tapes. Analyses of their music demonstrate a level of care in production that goes against the idea that lo-fi is primitive or naive.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"32 - 40"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48639537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Marko Ciciliani, Barbara Lüneburg and Andreas Pirchner (eds.), Vol. 1: Ludified: Artistic Research in Audiovisual Composition, Performance & Perception and Vol. 2: Game Elements in Marko Ciciliani’s Audiovisual Works. Berlin: Green Box Kunst Editionen. ISBN: 9783962160043. Marko Ciciliani, Barbara lneburg和Andreas Pirchner(编)，第1卷:Ludified:视听组成，表现和感知的艺术研究，第2卷:Marko Ciciliani的视听作品中的游戏元素。柏林:Green Box Kunst edition。ISBN: 9783962160043。
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-04-01 DOI: 10.1017/S1355771822000127
B. Battey
{"title":"Marko Ciciliani, Barbara Lüneburg and Andreas Pirchner (eds.), Vol. 1: Ludified: Artistic Research in Audiovisual Composition, Performance & Perception and Vol. 2: Game Elements in Marko Ciciliani’s Audiovisual Works. Berlin: Green Box Kunst Editionen. ISBN: 9783962160043.","authors":"B. Battey","doi":"10.1017/S1355771822000127","DOIUrl":"https://doi.org/10.1017/S1355771822000127","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"97 - 99"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47557284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music 酸性模式：人们如何共享罗兰TB-303的视觉符号系统来创作和重现酸性室内音乐
IF 0.6 3区 艺术学
Organised Sound Pub Date : 2022-04-01 DOI: 10.1017/S1355771822000164
D. Davis
{"title":"Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music","authors":"D. Davis","doi":"10.1017/S1355771822000164","DOIUrl":"https://doi.org/10.1017/S1355771822000164","url":null,"abstract":"This article discusses the use of an accessible visual notation system that represents the melodic component of an electronic music composition in acid house music, based on programming the Roland TB-303 bassline synthesiser’s sequencer. This notation system can be used for sharing, composition, collaboration and archival purposes. This system is called an acid pattern. The article analyses a variety of different approaches to communicate acid patterns. It examines the requirements and visual elements used and how they relate directly to the functionality of the Roland TB-303’s sequencer. Through content analysis of images, text and audio data gathered from various music community websites this article furthers the understanding of how the practices and cultures of acid house music composition, notation and archiving are shared online and how they, enabled by web-based technologies, can build communities. This article suggests important possibilities for communities of practice-based around a shared cultural identity, accessible notation systems, and the creation and recreation of music in both online and offline contexts.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"7 - 19"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41929652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
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