Posts
Tell Me Stories!
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I wrote the Preface for Tell Me Stories!, an anthology edited by Manuela
Pacella and published this month by Politi Seganfreddo Edizioni. The book
collects...
1 day ago
Thursday, June 21, 2012
Sunday, May 13, 2012
Monday, March 19, 2012
Mark Bain
Thursday, January 26, 2012
Hillel Schwartz 'Making Noise: From Babel to the Big Bang and Beyond'
To get a small idea of the themes explored you can listen to Schwartz speaking here.
Wednesday, January 25, 2012
Songs for Tahrir
Francesca - site looks very interesting, bookmarked!
Here's the link for Songs for Tahrir.
Madge - if there's any more info you have about this please post it up or email it round, I still think about Reem Kalani's amazing talk over at the music debt at the beginning of last term, it really stuck with me. At the time I was going through a Derrida phase and her exploration of how different regional 'dialects' of musical modes slip 'through' notation (the dead clef!), and the politics of how music defies notation (or the context in which it dares to step outside of established modes) was fascinating. Reem's an awesome speaker too.
Here's the link for Songs for Tahrir.
Madge - if there's any more info you have about this please post it up or email it round, I still think about Reem Kalani's amazing talk over at the music debt at the beginning of last term, it really stuck with me. At the time I was going through a Derrida phase and her exploration of how different regional 'dialects' of musical modes slip 'through' notation (the dead clef!), and the politics of how music defies notation (or the context in which it dares to step outside of established modes) was fascinating. Reem's an awesome speaker too.
Sunday, January 15, 2012
AURIS EXPERIMENTA: An Evening of Listening With RO/AD
INCREDIBLE SOLO by V1V1AN
INCREDIBLE LOOP by V1V1AN
INCREDIBLE DSP by V1V1AN
Presentation Content 1.
1) Sounds do not signify anything, each one of them does not so much express a meaning as mark a divergence of meaning between itself and other sounds.
2) What I transfer to sound recording is not a coexistence of perceived things as an array rivals in my field of audition.
3) I can decide to make them co-possible on the same plane, and I succeed by coagulating a series of local and monophonic frequencies, no one of which may be superimposed upon the elements of the organic auditory field.
4) Now I construct a soundscape in which each sound ceases to conjure the total sound experience in itself, but rather makes concessions to the other sonics, and no longer fills the silence anymore than the void which they leave.
5) It is the perpetual conversion carried on between all sounds and all experiences, each in turn contesting and confirming the other and each recreating all the others.
Presentation Content 2
1) An isolated sonic cannot mean in and of itself, but only reference a context of jettison between itself and relative sonics.
2) Technologically recreated frequencies and sonic phenomena is not analogous to the original phenomena, these frequencies synthesize myriad conflicts upon ones audition.
3) One can hope to objectively listen and experience a symphony of proximal and de-harmonized frequencies – each of which are decentralized from our field of aural perception.
4) I imagine an aural experience populated with co-effecting frequencies and sonics that cannot be studied singularly. These acoustics sonic inhabitation of the silence is relative to the void which envelops them.
5) There is, at once, a myriad of sonic-aural autopoiesthesizing and autophagia.
INCREDIBLE LOOP by V1V1AN
INCREDIBLE DSP by V1V1AN
Presentation Content 1.
1) Sounds do not signify anything, each one of them does not so much express a meaning as mark a divergence of meaning between itself and other sounds.
2) What I transfer to sound recording is not a coexistence of perceived things as an array rivals in my field of audition.
3) I can decide to make them co-possible on the same plane, and I succeed by coagulating a series of local and monophonic frequencies, no one of which may be superimposed upon the elements of the organic auditory field.
4) Now I construct a soundscape in which each sound ceases to conjure the total sound experience in itself, but rather makes concessions to the other sonics, and no longer fills the silence anymore than the void which they leave.
5) It is the perpetual conversion carried on between all sounds and all experiences, each in turn contesting and confirming the other and each recreating all the others.
Presentation Content 2
1) An isolated sonic cannot mean in and of itself, but only reference a context of jettison between itself and relative sonics.
2) Technologically recreated frequencies and sonic phenomena is not analogous to the original phenomena, these frequencies synthesize myriad conflicts upon ones audition.
3) One can hope to objectively listen and experience a symphony of proximal and de-harmonized frequencies – each of which are decentralized from our field of aural perception.
4) I imagine an aural experience populated with co-effecting frequencies and sonics that cannot be studied singularly. These acoustics sonic inhabitation of the silence is relative to the void which envelops them.
5) There is, at once, a myriad of sonic-aural autopoiesthesizing and autophagia.
Sunday, January 8, 2012
Friday, January 6, 2012
What is the sound of the limit of the classroom?
What is the sound of the limit of the classroom?
What is the sound of the limit of the classroom? by V1V1AN
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