Re: [-empyre-] Hearing and Listening / reading-listening space
--empyre- soft-skinned space--
Thank you very much Mr. Birringer for the compliment.
I am particularly glad you used the word beautiful, I feel the same way.
By contrast many people have found my sound work/music in the 1980s to be
beyond normal pain threshold levels.
Indeed a work like Below the Walls of Jericho (the first work on the CD) has
been used in three scientific tests to induce pain on the subject under
study.
Funny how those people in white coats , with all their answers, do not account
for aesthetic perception, and that oops, in this case this work maybe
considered beautiful by some people. That sort of throws off the
results I would say!
But I digress. The compliment is well taken, and i do want to respond to
two of the questions/comments, but i have to make dinner, walk the dog etc. So
perhaps later.
For bio, music excerpts, recordings,reviews etc go to:
http://www.electrocd.com/en/bio/dolden_pa/
To see a video of a chamber orchestra work go to:
http://vimeo.com/channels/575823/72579719
For bio, music excerpts, recordings,reviews etc go to:
http://www.electrocd.com/en/bio/dolden_pa/
To see a video of a chamber orchestra work go to:
http://vimeo.com/channels/575823/72579719
On Sunday, June 22, 2014 6:18:56 PM, Johannes Birringer
johannes.birrin...@brunel.ac.uk wrote:
--empyre- soft-skinned space--
dear all, dear Paul Dolden
still behind, but only a few days, naturally
I started to listen a bit, after Paul sent us a link to his work ('Below the
Walls of Jericho')
and was captivated by his 'Seuil de silences', and the density and complexity
of the music
and what it evoked...
.. exquisitely beautiful!
thanks for mentioning the link yo your work.
regards
Johannes Birringer
Wednesday, 18th: Sound Art, Technology and Innovation
Sent:Wednesday, June 18, 2014 3:43 PM
[Paul schreibt]
Well I will start today, since I have not participated yet. (I am responsible
for question #2, about opera using recorded signals. N.B. my question was
more a joke i sent out to alot of friends with some sarcastic comment about
concert hall practice and its contemporary relevance.)
If you look at the many comments for the New York Times article, people are
scandalized that an opera company would think of using samples to replace the
orchestra to keep costs down. One thinks immediately of Foucault's discussion
of authenticity in the arts. But I do not want to go in that direction please.
As much as I would like to discuss that the depth of Wagners' timbres are not
possible with the Vienna Symphonic library in which all instruments were
recorded with the same small diaphragm microphones, which creates bad phasing
when huge densities of instruments are used. I will repress the gear geek in me
and proceed.
The story, of the opera,† came out while reading last week's highly theoretical
discussions, which were amazing, but left me still thinking that we as cultural
workers have created almost no shift in how people think about the art of sound
reproduction and music consumption.
For your average person recordings are their experience of music. They consume
recordings in their car, home and office. If they are walking down the street
and are not wearing ear buds, they are confronted with street musicians, most
of whom are jamming to a pre-recorded tape!
By contrast when we try to interest the public in just listening whether in the
art gallery or concert hall with nothing to see, people think they are being
ripped off. And yet our use of technology is far more interesting and subtle
than the new Celion Dion album. (n.b. and please: nothing to see-I am
thinking of more than† electroacoustic music and its diffusion ideas!-even
though i live in Quebec!)
Where do we go from here, in making the audio format, (which may or may not
involve some type of live performance) to be more understood and appreciated
for your average person?
Or to put the question in even simpler terms, and make it personal(indulge
me for a moment, the people who know me at this forum know my dry wit):
Why can i always interest and amaze your average person with my guitar wanking,
than the extreme detailed work i have to do to mix and project 400 tracks of
sound?
Paul
For bio, music excerpts, recordings, reviews etc go to:
http://www.electrocd.com/en/bio/dolden_pa/
To see a video of a chamber orchestra work go to:
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[-empyre-] Sound Art: Curating, Technology, Theory
--empyre- soft-skinned space--Thank you to everyone who participated in the past week's topics and posts -- it was a thought-provoking series of conversations! And a special thanks to Renate and Tim who co-manage empyre and invited me to be guest moderator. Along with everyone else, I look forward to next week's discussion. Best wishes, Jim Jim Drobnick and Jennifer Fisher Editors Journal of Curatorial Studies 372 Sackville Street Toronto, Ontario, M4X 1S5 Canada (001) 416-515-0177 (tel/fax) j...@displaycult.com jef...@yorku.ca http://www.intellectbooks.co.uk/journals/view-Journal,id=205/ http://www.facebook.com/JournalOfCuratorialStudies ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
[-empyre-] Closing down Week 3, Thanks Jim Drobnick
--empyre- soft-skinned space-- Sent from my iPad Many thanks to Jim Drobnick for organizing and introducing us to so many new guests who specialize in sound studies: Darren Copeland, David Cecchetto, Marc Couroux, Christoph Cox, Kevin deForest, Ryan Alexander Diduck, Paul Dolden, Dave Dyment, Anna Friz, Seth Kim-Cohen, Andra McCartney, John Oswald, Eldritch Priest, Salome Voegelin, Jennifer Fisher, and Lewis Kaye. We are in Paris right now and are enjoying the sounds of Paris that are so differentiated from home. The humming moto, the screaming children, the regularity of garbage trucks, the fast flow and pitch of the language and so much more puts us in a pleasurably nostalgic summer mood. Thanks to Jim for ushering Week 3 for us. We have enjoyed it. Renate ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
[-empyre-] Week 4 Sonic Paths: Feminism Confronts Audio Technology
--empyre- soft-skinned space-- Welcome Asha Tamirisa to empyre and many thanks for moderating week 4. We learned of Asha's work through the HASTAC network and are very thrilled that she and her guests will be featuring Feminism. I just returned from the FemTechNet summer 2014 workshop at the New School in New York women from all over North America and beyond have networked together to share their work and am hoping that important intersections with technology and global feminism will be a part of our empyre future a bit more frequently. Thanks Asha. Week 4: Feminism Confronts Audio Technology Moderated by Asha Tamirisa, Rachel Devorah Trapp, Monisola Gbadebo, Lyn Goeringer, Caroline Park In The Poetics of Signal Processing, authors Tara Rodgers and Jonathan Sterne discuss how metaphorical language in electronic sound privileges particular subjects-- for example, how the use of water metaphors in audio (waves, current, channel, flow, streams) suggest the archetypical maritime navigator of the white male. This week’s discussion will draw inspiration from this analysis to think further about the ways in which rhetorical weight is built into audio technologies, how audiotechnical language and design reflect particular ideas of gender, race, and power. How might audio technologies look without these, and with other, ideas of subjectivity? As Judy Wacjman states in Feminism Confronts Technology (after which this week’s topic is named), this week’s discussion is a means for “opening up possibilities for feminist scholarship and action” in the field of electronic sound. The objective is to discuss and document what a feminist approach to electronic sound or feminist audio technology has been/might be. = = = bios = = = Asha Tamirisa is an interdisciplinary artist often found working with some combination of sound, video, light, sculpture, and movement. She graduated from Oberlin College with a degree in Technology in Music and Related Arts [TIMARA] and is currently a doctoral student in the Multimedia and Electronic Music Experiments [MEME] program at Brown University. She is also working towards an M.A. in Modern Culture and Media. Current research interests include feminist posthumanism, modular interfaces, and structural film and visual music. Recent projects include a digital emulation of the ARP2500. She is a founding member of OPENSIGNAL, a group of artists concerned with the state of gender and race in electronic/computer based art practices. Rachel Devorah Trapp is a variable media sound artist and digital archivist trained as a composer and a librarian. Her works have been performed by artists such as Rhymes with Opera, Fred Frith, and Laurel Jay Carpenter and have been heard at places such as the International SuperCollider Symposium, the Music for People and Thingamajigs Festival, and Art in Odd Places. In 2013 she served as Digital Archivist for the Center for Contemporary Music at Mills College, and in 2014 she was the Digital Archive Fellow at the New Museum. This Fall she will begin her pursuit of a Doctoral degree at the University of Virginia in Music Composition and Computer Technologies as a Jefferson Scholar Fellow. Monisola Gbadebo (b.1986) is a composer who works extensively with electronics, text, spacialized rhythm. A recent MFA recipient from Mills college, she began her work as a composer of electronic music at the Oberlin Conservatory of Music. Her music, which often incorporates narrative, acts on the viscera semantically to elicit responses consistent with the underlying story. Her music is influenced by west african musical idioms and aesthetic ideologies--hence the attention to rhythm, narrative, and a destabilized sense of temporality. Lyn Goeringer is an Intermedia artist and experimental musician/composer who creates site specific works that focus on the intersection of psychoacoustics, natural acoustic response in space, and how the human body listens and looks at things at a given space. As an active composer, performer and artist, she has presented creative works in Seattle, Rhode Island, Ohio, New York, Boston, England, Hong Kong, and Dubai. When she is not working on a new installation or piece, she can be found doing research in space, place and the everyday or teaching at Oberlin Conservatory in the TIMARA program. Caroline Park is a composer, musician, and artist working primarily within minimal means. As a composer-performer, she has shared the stage with Mem1, Steve Roden, a canary torsi, Evidence, Dollshot, and Arnold Dreyblatt, and has performed at the Stone, AS220, and in Jordan Hall. Solo releases can be found on labels Private Chronology, Bathetic Records, VisceralMediaRecords, Pure Potentiality Records, Absence of Wax, and Single Action Rider. Caroline is a founding member of OPENSIGNAL, a group of artists concerned with the state of gender and race within electronic
[-empyre-] Week 4: Feminism Confronts Audio Technology - Day 1
--empyre- soft-skinned space--Dear Renate and Tim, Thanks so much! I’m honored to be included in this month’s discussion along with such an incredible group of artists and scholars: Rachel, Monisola, Caroline, and Lyn. I will begin the discussion this evening with a post on my own research on modular interfaces, and the ways in which their design and use expresses particular ideas of power, freedom, connection, and subjectivity. My hope, though, is that this week’s discussion will expand into larger issues of feminist approaches of audio technology, audio culture, history, pedagogy, and feminist spaces, drawing inspiration from the incredible work done by scholars like Tara Rodgers, Harraway, Judy Wajcman, Anne Basalmo, and Wendy Chun. I will keep tabs on all resources and ideas and summarize them into a bibliography/list at the end. To preface, here are some topics I hope to touch on in this week: Audiotechnical Design * Rhetorical weight in technological design * How can technological design not just make things “better” but “different” in ways that provoke social change? Audiotechnical Language: * What does the language imply? Who does it exclude? Feminist Spaces * Intersectionality: Why haven’t most feminist electronic music spaces addressed race and broader issues of gender diversity? What are some examples of structures that have? * Fetishizing/categorizing women in electronic music * Male allyship Pedagogy * Why is there resistance to incorporating gender and race into the study of this field? Is that changing? * Moving beyond tokenism: How can the study of gender and race not be an appendage to the field, but a true part of its study? * Making balanced / diverse syllabi * Changing use of gendered/racialized language History / Archives * Radical archives / Integrating feminist archives into “mainstream” electronic music history * Linkages between militaristic technological development and audio technologies * Complicating the relationship electronic music history to Futurism/Fascism Very much looking forward to seeing what this network brings to the fore! All best, -- - Asha Tamirisa http://cargocollective.com/ashatamirisa http://www.ashatamirisa.wordpress.com ashatamir...@gmail.com ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
Re: [-empyre-] Week 4: Feminism Confronts Audio Technology - Day 1
--empyre- soft-skinned space-- Hello everyone and thank you to Renate, Tim and Asha for inviting me! Asha's points about pedagogy are ever-present in my mind. Many of the narratives that we weave about our discipline eschew what might be perceived as “irrelevant” elements of race, gender, and class. Yet this detritus is important. People create music; people are the agents in the creation of ideas. An individual's cumulative experience stands behind the sound. As the love child of music and technology, electronic music in its current state is exploding with creative uses of computer code. So if we turn our attention to a computer science course, we quickly see that these courses are often devoid—probably for the sake of time and efficiency—of discussions about agents: the people who made the code, functions, or scripts and their histories. Frankly, for computer scientists, an employer probably does not care if a job applicant the history of Bjarne Stroustrup and C++. The stories of innovators such as Leon Theremin and Robert Moog are written into our histories of development, but are only included when they are necessary to chronicle the basic evolution of the technologies. By disavowing the human history of our field, we leave behind real, important detritus: the valuable information about our innovators from all backgrounds. These stories are necessary to the study of electronic music because they provide paradigms for students who are in the process of becoming the next generation of innovators. All artists at one point in their career have read a fact or detail in a biography (or heard a story/urban legend) about a luminary in their field that inspired them. Even more powerful are these histories for students who might not have shared experiences with their mentors or cohort. Students benefit from identifying with the stories of innovators who came before them, and the usefulness of identification, of course, is not exclusive to race, gender, and class. My analysis is one of a practitioner and student of electronic music not a historian, so I freely admit that this is a surface look which does not fully account for wider cultural implications. I look forward to all of your thoughts! Rachel racheldevorahtrapp.com On Mon, Jun 23, 2014 at 12:22 PM, Asha Tamirisa ashatamir...@gmail.com wrote: --empyre- soft-skinned space-- Dear Renate and Tim, Thanks so much! I’m honored to be included in this month’s discussion along with such an incredible group of artists and scholars: Rachel, Monisola, Caroline, and Lyn. I will begin the discussion this evening with a post on my own research on modular interfaces, and the ways in which their design and use expresses particular ideas of power, freedom, connection, and subjectivity. My hope, though, is that this week’s discussion will expand into larger issues of feminist approaches of audio technology, audio culture, history, pedagogy, and feminist spaces, drawing inspiration from the incredible work done by scholars like Tara Rodgers, Harraway, Judy Wajcman, Anne Basalmo, and Wendy Chun. I will keep tabs on all resources and ideas and summarize them into a bibliography/list at the end. To preface, here are some topics I hope to touch on in this week: Audiotechnical Design * Rhetorical weight in technological design * How can technological design not just make things “better” but “different” in ways that provoke social change? Audiotechnical Language: * What does the language imply? Who does it exclude? Feminist Spaces * Intersectionality: Why haven’t most feminist electronic music spaces addressed race and broader issues of gender diversity? What are some examples of structures that have? * Fetishizing/categorizing women in electronic music * Male allyship Pedagogy * Why is there resistance to incorporating gender and race into the study of this field? Is that changing? * Moving beyond tokenism: How can the study of gender and race not be an appendage to the field, but a true part of its study? * Making balanced / diverse syllabi * Changing use of gendered/racialized language History / Archives * Radical archives / Integrating feminist archives into “mainstream” electronic music history * Linkages between militaristic technological development and audio technologies * Complicating the relationship electronic music history to Futurism/Fascism Very much looking forward to seeing what this network brings to the fore! All best, -- - Asha Tamirisa ashatamir...@gmail.com ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
