Happy to be included in the most recent issue of textsound :
Issue 21 :: Sonic Materialities
curated by Michael Nardone
"This issue of textsound assembles works that blur the distinction between performance, poetry, and the sonic arts. Dialogues, field recordings, talks, electromagnetic arrangements, installations, lyric works, remixes – “Sonic Materialities” explores the fugitive modes of embodiment, inscription, and exchange in phonopoetic practice. Noise and resonance, tuning and texture inform these compositions. So does the grain and splice of the voice. Always with recorded sound, the material contexts reverberate. This is to say that the technical and technological mediations – vibrations engineered into script – are elemental to the compositions; as are the locales of their production, the social and physical circumstances of their pulse, polyphony, dissonance, and replay. They are the substrate we apprehend in listening – the sites, acts, and echoes."
Other contributors include Syd Staiti, Amaranth Borsuk + Andy Fitch, M. NourbeSe Philip, the Unauthorized Narrative Freedom Organization (UNFO) (Dan Richert + Harold Abramowitz), Erin Moure + Lisa Robertson, Julian Hou, Holly Melgard, Stefan Christoff + Kaie Kellough, Eric Schmaltz, Laureen Burlat, Charles Bernstein, Felipe Otondo, José Rivera, Sebastiane Hegarty, Clio Montrey + Klara Du Plessis, Staalplaat Soundsystem (Geert-Jan Hobijn), Michael Hennessey, Elizabeth Cherniak, Patrick Durgin, Christof Migone, Jordan Scott + Jason V. Starnes, Jean-Philippe Antoine, Laura Ortman + Tanya LukinLinklater, Steve Evans, Gary Barwin (Moribund Facekvetch), Oana Avasilichioaei, Mayakov+sky Platform (Nikolaos Omeros Koumoundouros), and Fred Moten.
Happy to present work at the GSD:
Join us for fortyK INTERMISSIONS
Document Talks #1: Process Iterations by MIT Art, Culture & Technology
October 21, 7:00 pm
Drinks will be served!
fortyK presents a series of events in the next two weeks as an interruption to our regular exhibition programming. We had a small situation where we found ourselves unexpectedly faced with a two week window of time where the gallery would potentially stand empty. Disruption? Nope. We have decided to make this an Intermission instead.
Document Talks 01: Process Iterations
Salon: 21 Oct, 7pm
We welcome friends from the MIT Art, Culture and Technology program to share their work and their take on how varying modes of a 'document' operate in their various practices. Traversing diverse mediums and issues, the discussions engage on multiple levels potential parallel threads that interest the community at the GSD. The document here takes the form of sound, of video, of performance, of conversations; the document here expands upon the subject recorded and extends into the making of the object (or non-object) itself; the document is part of a process, as an iteration (or a disruption).
Pleased to share a publication commemorating the work created during last Spring's Sound Creations course, taught by Jan St. Werner.
I'm fearured in this edition of framework radio:
several physical releases this week along with some online released (or unreleased) work. another lovely project by gruenrekorder, following the river rhine (a few more releases from them coming soon) and two new releases released by daniel crokaert, one on his unfathomless label, and the other on his mystery sea imprint. plus virtual offerings by tom white, proxemia, and david velez, all begun with a framework intro by regular contributor martin clarke.
speaking of which: our intro coffers are running low, folks! if you never have before (or even if you have), now is the time to go out and record a framework introduction and send it in to us! it will get aired! guidelines here, or via the intros button above.
[time/ artist/ track/ release/ label]
00:00 – 03:08/ martin clarke/ framework introduction, recorded in india
06:05 – 16:07/ jérémie mathes/ [extract 1] / fallow memory/ unfathomless
15:47 – 33:47/ tom white/ scales/patterns/ – / –
19:14 – 30:10/ proxemia/ buildings systems [extract 1] / – / –
22:34 – 27:02/ marco dibeltulu/ microclima ii/ – / –
27:40 – 38:22/ jérémie mathes / [extract 2] / fallow memory / unfathomless
36:32 – 44:10/ david velez/ circadian rhythm disorders/ – / –
45:25 – 55:58/ proxemia/ buildings systems [extract 2] / – / –
49:11 – 58:22/ jérémie mathes / [extract 3] / fallow memory / unfathomless
Excited to be featured live on resonancefm as part of the #545 episode of framework radio.
Very excited to be the TA for this course.
"The explicit spatialization of sound not only changes how the physical environment is perceived but also seems to put pressure on the idea of the modern subject itself."
- Joseph L. Clarke
"Space is the register in which sound can happen an sound can have meaning."
(Sterne, 2010: 91)
"Regardless of its constructed character, recorded sound strongly searched for the perfection of fidelity to the original event. Noises were a part of the experience to be ignored, but still made their voice heard. In today's digital model, we perceive efficient strategies defining which part of the experience must necessarily prevail. The binary encoding of signal is presented both as a matrix and as a result of listening to a sonorous universe. How is noise absorbed in this new model? Is it still perceived as oppositional? How does it present itself in increasingly sophisticated technological mediation processes?"
jose claudio siquiera castanheira
Moving a bow across a metal plate to produce “sound figures,” following Ernst Chladni’s experiments in the 1780s. From William Henry Stone, Elementary Lessons on Sound (1879).
I recently learned that Maryanne Amacher was a visiting fellow at the Center for Advanced Visual Studies at MIT. From '72 to 75' she developed some of te projects and ideas that would eventually lead to her ideas of, what she called, perceptual geography. Her experiments into new ways of experiencing sound serve as inspiration as I continue with my own sonic studies.
"Sound synthesis opens truly unheard perspectives, extending the act of composition to the sound material itself. The distinctions between note, frequency, timbre, and harmony become fuzzy, or even irrelevant, and accumulated traditional experience finds itself impotent to organize the emerging sound world."
Daniel Pressnitzer and Stephen McAdams
"A film : Luc Ferrari facing his tautology: two days before the end
Luc Ferrari takes out an old score, Tautologos III, to record it at La Muse en Circuit in the Summer of 2005. The "score" is actually a set of three rules:
1. Each musician freely decides on a theme and length of silence to be repeated for 21 minutes.
2. Each musician can fanatically stick to his choice or change it according to what the other musician is playing.
3. Well, there is no third rule."
more at sub rosa
"So sensitive is a room.
The plan is a society of rooms.
The rooms relate to each other to strengthen their own unique nature. The auditorium wants to be a violin. Its lobby is the violin case.
The society of rooms is the place where it is good to learn, good to live, good to work.
Open before us is the architect’s plan. Next to it is a sheet of music.
The architect fleetingly reads his composition as a structure of elements and spaces in their light.
The musician reads, with the same overallness, his composition as a structure of inseparable elements and spaces in sound.
A great musical composition is of such entity that when played conveys the feeling that all that was heard was assembled in a cloud over us. Nothing is gone as though time and sound have become a single image."
-This is an excerpt from an essay in A+U January, 1973
“The important thing is to understand life, each living individuality, not as a form, or a development of form, but as a complex relation between differential velocities, between deceleration and acceleration of particles. A composition of speeds and slowness on a plane of immanence. In the same way, a musical form will depend on a complex relation between speeds and slowness of sound particles. It is not just a matter of music but of how to live: it is by speed and slowness that one slips in among things, that one connects with something else. One never commences; one never has a tabula rasa; one slips in, enters in the middle; one takes up or lays down rhythms.”
— Gilles Deleuze, Spinoza: Practical Philosophy
This is our first piece working together. The sound is a combination of my cat licking a yogurt wrapper and a drone loop of highway noise recorded on a reel-to-reel. I also added some experiments with max to get the texture and fluid qualities that change throughout the piece.
This piece began with footage of water splashing around, filmed from a video magnifier. The frames were extracted from their video format and shuffled into a random order, then turned back into a video. I like the erratic yet almost structured way it turned out, a bit of natural chaos melding with computerized randomness.
Disquiet Junto Project 0186: My Name
Explore the sonic contours of a word you’ve spelled out loud frequently: your name.
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After the recording and slowing down process, there were a few things about the spoken letters that grabbed by attention. The subtle rhythms were natural starting points, but what really interested me were the the tonal rises and falls, as if each spoken tonal bit operated as a synth tone, with an attack and release, envelope parameters, the oscillating features. I began using different synth parts in Abelton’s Operator, that when layered, would represent different aspects of each letter.
J - a strong attack, the body being slightly damp and rubbery with the ”AY” tone later rising and falling. I messed around the the filter envelopes, pitch settings I found a tiny bit of sawness to be present. Layered harmonic bass note with a saw wave plastic harp towards the tail of the sound.
O - a rubbery sound to it. a bass synth with a resonator was used to add more material to the overall body of the wave. I played with the decay a bit to emulate the rather uneventful tail, leaving it a bit more open. I also layered this with an organ sound and a low sine wave.
S - “EH” sound with the weak attack was emulated with an organ sound, getting the tonal bit with tweaking the formants. The “ss” portion occurs from the midpoint to the end of the sound, and layered saw waves with added noise provided the necessary effect.
E - soft attack, with fairly consistent rubbery tonality. A saw wave from an organ sample emulated the raspy nature of the tail.
Overall, soft, rubbery with raspy ends that came out kind of bouncy. I decided to go with it and add a few more layers of additive harmonic drumsynth claves, granulated bits of my speaking voice, and melodic tones as the piece progressed.
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More on this 186th Disquiet Junto project (“Explore the sonic contours of a word you’ve spelled out loud frequently: your name”) at:
More on the Disquiet Junto at:
Join the Disquiet Junto at:
Disquiet Junto general discussion takes place at:
The sonic installation explores architecture as an essential element in our listening experience. Elizabeth Martin in Pamphlet Architecture 16, describes the project which
" uses interactive rotating roof element that alters the small space in which a player is enclosed. The individual faces the neck of the large guitar, connected to six 10’ strings that are set in motion. The instrument produces the sound, the player does the manipulation, and the oscilloscope displays the visual representation of the sine wave forms. Thus, viewer experiences more of an active role in musical exploration in contrast to the passive occurrence of the concert."
The project was created in 1987 at Columbia University by Mark Brearley, Peter Cook, Larry Daves, Neil Denari, Diana Thater, and Hishman Yousef.