Sonic Art

Modes of music listening and modes of subjectivity in everyday life

by Ruth Herbert

Journal of Sonic Studies, Vol. 2(1), May 2012
Available online

Technologically mediated solitary listening now constitutes the prevalent mode of musical engagement in the... more Technologically mediated solitary listening now constitutes the prevalent mode of musical engagement in the Industrialized West. Music is heard in a variety of real-world contexts, and qualities of subjective experience might similarly be expected to be wide-ranging. Yet though much is known about function (music as a behavioural resource) less research has focused on ways in which music mediates consciousness. This essay critiques conceptualizations of music listening in extant literature and explores how listening to music in daily life both informs and reflects subjectivity.

Psychological and musicological literature on music listening commonly distinguishes between autonomous and heteronomous ways of listening, associating the former with unusual and the latter with mundane, habitual listening scenarios. Empirical findings from my research, which used ethnographic methods to tap qualities of subjective experience, indicate that attentive and diffused listening do not map neatly onto 'special' and 'ordinary' contexts and that a distributed, fluctuating attentional awareness and multimodal focus are central to many experiences of hearing music.

Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound

by John Levack Drever

PhD, Dartington College of Arts, 2001

Archives du projet En dedans et dehors du studio

by Andra McCartney

Archive d'un projet de recherche avec quelques liens sonores

Archives du projet En dedans et dehors du studio

En dedans et dehors du studio était un projet de recherche... more Archives du projet En dedans et dehors du studio

En dedans et dehors du studio était un projet de recherche multi-universitaire basé à l'université Concordia et financé par le CRSH. Le projet, réalisé durant les années 2000 à 2005, avait comme objectif d'observer et de documenter les méthodes de travail d'un nombre de productrices sonores issues de disciplines diverses. Les participantes ont pris part au projet à travers la tenue d'ateliers et d'entrevues, ainsi qu'en soumettant des extraits de compositions sonores. Ce document fait donc office d'archive du site web associé au projet de recherche, et sur lequel on retrouvait les différentes méthodes et philosophies des productrices sonores dans le but de les rendre accessible à d'autres productrices, ainsi qu'aux chercheurs et chercheuses en études féminines. On y retrouve aussi de un certain nombre de liens conduisant aux différents matériaux sonores recueillis durant le projet.

Le projet En dedans et dehors du studio, supervisé par Dr Andra McCartney de l'université Concordia (Montréal, Québec, Canada), a exploré les relations entre genre, technologies musicales, performance et processus créatifs des artistes sonores et compositrices. L'équipe de recherche était composée de Dr Beverly Diamond, Dr Kip Pegley, Dr Ellen Waterman, Dr Owen Chapman, Anne-Marie Ennis ainsi que Lisa Gasior. Les participantes au projet qu'on retrouve dans ce document incluent Hildegard Westerkamp, Hélène Prévost, Nancy Tobin, Marian van der Zon, Shelley Craig, Diane Leboeuf, Susan Frykberg, Pascale Trudel, Diane Labrosse, Sarah Peebles, Monique Jean et Claire Piché.

Emily Brown is now single: a hyperreal mythology created through a series of intermedia art events (Masters Thesis)

by John D'Arcy

Submitted as part of MA in Sonic Arts, QUB 2011.

View the video of the work here: http://vimeo.com/28971382

This document reveals the events that took place following the break-up of Emily Brown and Stephen Kelly - a fictional... more This document reveals the events that took place following the break-up of Emily Brown and Stephen Kelly - a fictional couple created by John D’Arcy. After each making over 300 friends on Facebook, the couple aired the private moments of their break-up online and in public spaces during the week August 14th-21st in South Belfast, Northern Ireland. The series ‘Emily Brown is now single’ explored a range of techniques for presenting narrative in public spaces, including sound, video, fly-posting, interactive software, found objects, live performance and a flash mob. Each event in the series is discussed here in detail, including script and technical requirements, context within existing practice, and reactions of the public. Documentation techniques are also discussed, along with reflections on the project and considerations for future development.

View the video of the work here: http://vimeo.com/28971382

VIVO (Video Interactive VST Orchestra) and the aesthetics of interaction

by Fabio Paolizzo

Published in SSSP 2010 - conference proceedings.

The research is drawn across the fields of musicology, composition and software development with the aim of achieving... more The research is drawn across the fields of musicology, composition and software development with the aim of achieving a collective intelligence and self-awareness through self-reflection in interactive music. The present study recognises that for a collective self-awareness to occur through self-reflection in music, specific structures of interrelation have to be adopted, which may enhance the human agent’s awareness of the own self as related to the machine. These structures are then implemented in a piece of software. Specific art projects are designed along the investigation to finally test/improve the framework through art practice. The art works spanned the disciplines of music, dance, theatre/performance, film-making, net-art, sport/music interactive public art. The implementations include: a module for adaptive video tracking that is derived from the feedback loop of action/perception (Vaggione 2001); an adaptive graphic score which is designed upon a previous multi-modal comparative analysis (Impett 2001); a dynamic host for audio software, where the concept of open content is merged within the dynamic orchestration model (Paine 2004). The piece of software, which provides outcomes that are informed by these structures, is VIVO. This software musical instrument is able to generate an adaptive musical answer to reflect the agents’ behaviour by controlling external audio-plug-ins (VST, DirectX, AU). The paper illustrates its main features, the theories behind the implementations and the partial evidence that was gathered from tests, which are still in progress, within specific art projects.

VIVO (Video Interactive VST Orchestra): an interactive and adaptive musical instrument for self-reflection in music

by Fabio Paolizzo

published in 'The International Journal of the Arts in Society'

The aim of the research is to create a software musical instrument that allows for an aware exploration of the self,... more The aim of the research is to create a software musical instrument that allows for an aware exploration of the self, through self-refection in music. The investigation is interdisciplinary and operates across the fields of musicology, software development and composition. The study focuses on specific logics of compatibility between human agents and technology. These are then implemented, at the design stage, in a software tool. Finally, the piece of software is tested within art projects to validate the implementations or to correct the theoretical assumptions and, therefore, to further improve the framework. This software musical instrument is VIVO (Video Interactive VST Orchestra). This paper illustrates the main features of VIVO, the theories behind the implementations and the evidence that was gathered from tests within two specific art projects.

VIVO (Video Interactive VST Orchestra): an interactive and adaptive musical instrument for self-reflection in music

by Fabio Paolizzo

published in 'The International Journal of the Arts in Society'

The aim of the research is to create a software musical instrument that allows for an aware exploration of the self,... more The aim of the research is to create a software musical instrument that allows for an aware exploration of the self, through self-refection in music. The investigation is interdisciplinary and operates across the fields of musicology, software development and composition. The study focuses on specific logics of compatibility between human agents and technology. These are then implemented, at the design stage, in a software tool. Finally, the piece of software is tested within art projects to validate the implementations or to correct the theoretical assumptions and, therefore, to further improve the framework. This software musical instrument is VIVO (Video Interactive VST Orchestra). This paper illustrates the main features of VIVO, the theories behind the implementations and the evidence that was gathered from tests within two specific art projects.

Headspace: Architectural Space in the Brain

by Peter Petralia

Published in Contemporary Theatre Review

Exploration of digital manipulation of acoustic sound with the body, using a sensor based motion capture system

by Vangelis Lympouridis

Audio Mostly Conference, Glasgow, 2009

In this paper we explore the relation between the physical body movement and the digital manipulation of acoustic... more In this paper we explore the relation between the physical body movement and the digital manipulation of acoustic sound within the concept of Whole Body Interactive Performances. Instead of the traditional camera based systems for motion capture we propose the use of Wireless Inertial Measurement Units (WIMU) attached directly to the body. Although the use of camera based systems had taken this field of research to a certain level, the new methods based upon current technologies allow the analysis of an extensive range of movements in higher resolution and detail, as those are specifically designed for motion tracking applications.
Having in mind that an optimum goal in these experimentations but also in Human Computer Interaction (HCI) in general, is the transcription of the body movement to a digital machine using transparent technology, this research aims to investigate the potential of the existing technology to assist artistic practices in particular Live Art and Digital Performances. Through experimentations and interdisciplinary collaborations we explored several design concepts and defined a basic framework for studying these applications and validating our results.

Sonification of Gestures using Specknets

by Vangelis Lympouridis

Proceedings SMC'07, 4th Sound and Music Computing Conference

This paper introduces a novel approach to
gesture recognition for interactive virtual instruments. Themore This paper introduces a novel approach to
gesture recognition for interactive virtual instruments. The
method is based on the tracking of body postures and
movement which is achieved by a wireless network of
Orient-2 specks strapped to parts of the body. This
approach is in contrast to camera-based methods which
require a degree of infrastructure support.
This paper describes the rationale underlying the method of
sonification from gestures, addressing issues such as
disembodiment and virtuality. A working system is
described together with the method for interpreting the
gestures as sounds in the MaxMSP tool.

Fully Wireless, Full Body 3-D Motion Capture for Improvisational Performances

by Vangelis Lympouridis

CHI 2009, Boston, MA , WHOLE BODY INTERACTION workshop

This paper describes a framework for exploring the boundaries of interactive whole-body improvisational performances... more This paper describes a framework for exploring the boundaries of interactive whole-body improvisational performances using the Orient-3 Wireless Motion Capture System in collaboration with composers and musicians. The requirements for improvisational performances are explored and the choice of the Orient-3 motion capture system is justified from among mechanical, acoustic, magnetic, optical and inertial motion capture methods.

Cipo_09 Music Box: Hybrid Robotic <organism> - [laterna]

by Kostas Daflos

Ambient Intelligence and Smart Environments
Volume 2, 2009
Intelligent Environments 2009 - Proceedings of the 5th International Conference on Intelligent Environments – Barcelona 2009
Edited by Vic Callaghan, Achilles Kameas, Angélica Reyes, Dolors Royo, Michael Weber
ISBN 978-1-60750-034-6

DOI: 10.3233/978-1-60750-034-6-493
Cipo_09 music box - hybrid robotic <organism> - [laterna], pp.493-496
Daflos E. Kostas

The CIPO artwork program are interactive action-based installations, that investigate through robot agents, the... more The CIPO artwork program are interactive action-based installations, that investigate through robot agents, the relationship between subjects, body and space. The interminglement of spectators within the digital framework transforms the space to an experimental place. The CIPO program involves the physical viewer participation and the live energy of the human presence; it agitates the spectators to perform into an active relation with subjects and objects in place. Cipo_09 art objects are (3) three similar interactive handmade music boxes bring sound events. Cipo_09 music boxes have been drawn such as unhistoric impromptu instruments, which appropriate the concept and sounds of old music boxes from the 19th century. Different sound events created by human presences, are transcribed through cipo_09 hybrid objects to open sound scenarios.

The "MUSIC BOX" C(2)IPO_06: interactive hybrid robotic sculpture

by Kostas Daflos

3rd IET International Conference on Intelligent Environments (IE 07)
(CP531)
Ulm, Germany, 24-25 Sept. 2007, ISBN: 978 0 86341 853 2

The "MUSIC BOX" C(2)IPO_06: interactive hybrid robotic sculpture, p.572–576
Kostas E. Daflos

The "ipo", "cipo" (K. Daflos, 2006) & "cibo" are active agents that agitate &... more The "ipo", "cipo" (K. Daflos, 2006) & "cibo" are active agents that agitate & bring the passive spectator into an active & interactive relationship with the subject. The interminglement of both, spectator (body) & subject (technology) transforms the given space into an experimental hybrid space where body & technology meet. The new medium of artworks is action-based. It involves the physical viewer participation & life's energy of human presence of the spectators or the performers. The body actions support the improvisation of self-discovery through this medium, and in turn the artwork itself becomes an improvisation. The successive transcriptions -transpositions of human presence & action in schemes, traces, signs, represent the distributed body, which is transcribed through various multiple mediums. Machine-organism inspired from: a) Gordon Pask's theory of discourse between man, machines and learning machines (P. Pangaro, 2002). b) Norbert Wiener's theory of control and communication of machines (N. Weiner, 1948).

Musical applications of Physical Computing

by Calum Scott

Sonic Cosmic: Music from Outer Space

by Kamal Sabran

Artist in residence
National Space Agency Malaysia
2005

Look at the stars. Can you hear them? For centuries astronomers have been looking at the stars. But can our ears tell... more Look at the stars. Can you hear them?For centuries astronomers have been looking at the stars. But can our ears tell us something that our eyes can't? ... Is it possible that there is more to learn by listening to the stars?

As the artist in residence of Agensi Angkasa Negara (National Space Agency) whereby I was granted a research fund to produce an artwork that combines both space science and art.

My sound art entitled Sonic Cosmic is a scientific research is based on real signals which came from outer space. My aim is to develop a musical composition base on galactic radio noise.

The final composition will be on stage along with visual projection .In search of space sound, I used a radio telescope located at the National Satellite Station. The radio telescope receives radio signals from the Sun, the planet Jupiter, and the galaxy. Relativistic electrons spiraling in the galactic magnetic field generate radio noise that is easily detected using the radio telescope.Using this Radio telescope I am able to receive the natural radio emission such as, Solar Burst, Jupiter Radio Noise Storm and Galactic Background Noise. The signals are recorded, displayed, analyzed and archived using special software.My musical compositions process started with observing the close analogy between galactic radiation and musical notes -- both of which are decoded by intensity and frequency (or wavelength).

I used galactic noise as a musical instrument by breaking them into fragment using computer software. I tried to find the sound association between galactic noise and musical instruments by doing experimentation using various methods, techniques and styles. I also used both traditional and electronic instrument to create an organic harmonious composition.My music portrays an eerie, chaotic and meditative feeling of space.

Jupiter's Radio Wave as Sound Art in Planetarium

by Kamal Sabran

MA Thesis UITM 2006
Supervisor: Assoc Prof Dr Kamarudzaman Md Isa

Planetarium was intended as a centre to create public awareness towards space science. However, the sound used... more
Planetarium was intended as a centre to create public awareness towards space science. However, the sound used in Planetarium did not give much reality and fact of outer space sound itself to the public. In this research, the researcher will find out and understand the cause of these phenomena that happens among visitors by injecting element of art-science in the research by developing the Jupiter’s Radio Wave to sound art.

Throughout this research paper, the researcher will investigate the effectiveness of Jupiter’s Radio Wave as sound art in providing understanding, motivation and attraction towards space science among visitors in Planetarium.  The researcher hope is to be able to come up with recommendations and proposals on how to design a good and successful sound art consisting of attractive sound manipulation of Jupiter’s Radio Wave with a great impact on the visitor’s awareness.

This study incorporates experimental research design where 52 students are assigned to group based on some selected criterion to be tested in Planetarium. The data collections were analyzed using SPSS.

The research has proved that Jupiter’s Radio Wave can be manipulated and created as sound art where the result shows that the sound did attract the attention of the respondents. 

Future researcher have to create better sound art prototype in order to develop a good research finding. The quality of sound recording itself is a key to a better sound production. Future researchers have to consider planetarium’s visual in designing a flow of the sound movement. In order to create a better impact of the sound prototype for respondent to listen to, future researcher needs to setup a high-end audio system. From this research, the result shows that visuals from planetarium create an important role in order for the respondents to value the sound. The future researcher has to consider a modern and up to date Planetarium as a place to test sound prototype. The future researcher must have a good support from the technical expertise in order to facilitate the use of Radio Telescope in order to collect sound sample from Jupiter. A mutual collaboration between artist-scientist will create a good impact on the research.

EXPRESSIVE SONIFICATION OF FOOTSTEP SOUNDS

by Stefano Papetti

Sound Synthesis Tools for Sound Design

by Stefano Papetti

Gamelunch: Forging a Dining Experience Through Sound

by Stefano Papetti

Gamelunch: A Physics-Based Sonic Dining Table

by Stefano Papetti