The Davis Infrastructural Listening Initiative is now accepting proposals for new sound works to be performed in a resonant outdoor hallway. Applicants are encouraged to approach infrastructure as instrument, accompanist, audience, etc.
Proposal deadline: October 20th
All inquiries: email@example.com
[UPDATED FLYER!] Excited to be teaching a course on sonification for UC Davis Science & Technology Studies // Data Studies this Spring! Here's the flyer, the image for which comes from this inspiring project http://soccos.eu/blog/detail/sonic-wilderness-micro-residency-hailuoto-23-30-august
Teaching a seminar on time this winter at UC Davis. Here's the flyer:
1. Connect a guitar to an amplifier with as long an instrument cable as is available. Turn the amplifier off and hide the guitar, still plugged in, somewhere out of the amplifier's line of sight. The amplifier should then be turned on and the settings adjusted until feedback is produced.
2. Bury an electric guitar in a (preferably wooden) box, facing upwards, with its cable running to the surface. Plug cable into an above-ground amplifier placed on or near the place where the guitar is buried in such a way that feedback is produced. Alternatively, the amplifier cabinet may be secretly buried by a third party, who may then invite the performer to locate it by using the guitar as a dowsing rod.
3. Anoint an electric guitar and amplifier with moose scent and place in the woods with an appropriate remote power source. Substitute animals and lures as needed.
“The sound of anything coming at you–a train, say, or the future–has a higher pitch than the sound of the same thing going away. If you have perfect pitch and a head for mathematics, you can compute the speed of the object by the interval between it’s arriving and departing sounds. I have neither perfect pitch nor a head for mathematics, and anyway, who wants to compute the speed of history? Like all falling bodies, it constantly accelerates. But I would like to hear your life as you heard it, coming at you, instead of hearing it as I do, a sober sound of expectations reduced, desire blunted, hopes deferred or abandoned, chances lost, defeats accepted, griefs borne.”
– (Angle of Repose pp. 25)
A quick experiment in phasing, and the materiality of digital audio, using two portable chant boxes (also called Buddhist jukeboxes). Each box contains the same set of loops and should work identically. However, because of discrepancies in construction, battery power, etc., each plays at a slightly different rate (and pitch). When loops are initiated together, these differences accumulate and the loops decouple from one another, producing a phasing effect à la Steve Reich. Gonna make another higher quality video w/ stereo audio one of these days. (Incorrect date in the video: Jan 5, 2016)
Some photos by Vicki Ly of me gesticulating at the Megapolis Audio Art Fest are up over here: https://www.flickr.com/photos/megafest/21801786640/in/photostream/
Note the Cigar Box Talkbox I made for the occasion!
"Neither symptom nor cure is worked out at the level of objective or positing consciousness, but below that level. Loss of voice as a situation may be compared to sleep: I lie down in bed, on my left side, with my knees drawn up; I close my eyes and breathe slowly, putting my plans out of my mind. But the power of my will or consciousness stops there. As the faithful, in the Dionysian mysteries, invoke the god by miming scenes from his life, I call up the visitation of sleep by imitating the breathing and posture of the sleeper . The god is actually there when the faithful can no longer distinguish themselves from the part they are playing, when their body and their consciousness cease to bring in, as an obstacle, their particular opacity, and when they are totally fused in the myth. There is a moment when sleep ‘comes’, settling on this imitation of itself which I have been offering to it, and I succeed in becoming what I was trying to be: an unseeing and almost unthinking mass, riveted to a point in space and in the world henceforth only through the anonymous alertness of the senses."
Merleau-Ponty, Maurice (2002-03-14). Phenomenology of Perception (Routledge Classics) (pp. 189-190). Taylor and Francis..
From English: If the area to which the law is to be applied is already determined in multifarious ways from the point of view of the law itself, then the law cannot contain within itself the complete rule of its own application.
To Arabic: إذا كانت المنطقة التي كان القانون يطبق بالفعل في تحديد متنوعة من الطرق من وجهة نظر القانون نفسه ثم القانون لا تحتوي على داخل نفسه حكم كاملة من التطبيقات الخاص به.
Back to English: If the area that was the law already specified in a variety of ways, from the point of view of the same law, then the law does not contain within itself the complete rule of its own application.
To Armenian: Եթե ազատության հրապարակը, քանի որ օրենքն արդեն տրվել է տարբեր եղանակներով, այդ տեսանկյունից նույն օրենքի, նշանակում է, որ օրենքը չի պարունակում ամբողջական իշխանությունը սեփական դիմումների.
Back to English: If the area because the law has already been given a different perspective of the same law means that the law does not contain the full authority of their own applications.
To Azerbaijani: Əgər meydanı, ona görə ki, qanun artıq verilmişdir, digər baxımdan, həmin qanun o deməkdir ki, qanun heç bir tam hakimiyyəti öz proqram.
Back to English: If the area, because the law has already been given a different perspective of the law means that the law is not at the mercy of their program.
To Belarusian: Калі плошчу, таму што закон ужо быў дадзены іншага пункту гледжання закона азначае, што закон не на літасць іх праграмы.
Back to English: If the area because the law has already been given a different perspective of the law means that the law does not at their mercy program.
To Bosnian: Ako zoni, jer zakon je već dao različite perspektive od zakona znači da je zakon nije u njihovoj samilosti program.
Back to English: If the area because the law has already given me a new perspective of the law means that the law is not at their mercy program.
To Bulgarian: Ако площ, защото законът вече ми даде нови хоризонти на закона означава, че законът не е в тяхна милост програма.
Back to English: If the area because the law has already given me a new perspective of the law means that the law does not at their mercy program.
To Catalan: Si la zona, perquè la llei ja ha donat una nova perspectiva de la llei significa que la llei no en la seva misericòrdia programa.
Back to English: If the area, because the law has already provided a new perspective of the law means that the law is not in his mercy program.
To Chinese: 如果该地区，因为该法案已经提供了一个新的角度来看的法律手段的法律是不仁慈的方案。
Back to English: If the region, because the law has provided a new perspective of the law means the law is not merciful programme.
To Croatian: Ako je u regiji, jer je zakon dao novi pogled zakona znači da zakon nije milostiv programa.
Back to English: If in the region, because the law gave the new law means that the law will not have mercy on the program.
Last Saturday I had the pleasure of taking part in the fifth ever biannual(-ish) Naked Noise improv event at the Ithaca Community School of Music and Arts. This time around it was curated by the capable folks at Ithaca Underground and involved a dozen or so musicians, most of whom had not met one another prior to performing two 45 minute sets. Shout out to Jon Eckhaus, Mario Gutierrez, and Ethan of Time/Being plus Annie Lewandowski of Powerdove, polymath Matt Saccuccimorano of Orbiting Art Ensemble, Chris Demetriou of Last Dot and the Kraken Quartet, Weston Czerkies of Sunken Cheek, Erik Johnson, Mike Amadeo of The RealBads and Misses Bitches, and Jasper Minson of You Still Have Friends. The incomparable Trevor Pinch also joined in on Minimoog and his own DIY synth.
Here's a recording of the 2nd one of these we did. (Keep in mind it's an attempt to capture, with one H2 field recorder, about a dozen musicians scattered around what's basically a recital hall with high ceilings.) ->
We've been doing this for a while. The show began when a three band bill with Sun Spells, Time/Being, and The Invisible Hand decided that, instead of playing regular discrete sets, it would be more fun to scatter around the room and have everyone play simultaneously for two hours. NN4 had two dozen performers and it was an awesome cacaphony. This time around it was positively tasteful. I probably wont be in Ithaca for the next installment, but I'm glad it's looking like this wont be the final installment.
ALSO: Earlier in the day as part of the Moog Exhibit at the Tompkins County History Center there was a DIY synth workshop with synthbuilder Taylan Cihan. I didn't make it, but it sounds like it was at least as awesome as Taylan's workshop for last year's DIY Electronic Music Symposium, for which I did a quick circuit bending and cassette tape loop demo.
This is where I'll be posting, probably very sporadically, about things I've been reading, writing, and thinking about, as well as any actual sound-making I've been up to. More than an online business card you can think of this as my own virtual Danzig-style library-grotto, complete with reflecting pool.
I'm a Science and Technology Studies grad student at Cornell, currently based in Upstate NY but soon relocating to Northern California.
I'm interested in Sound Studies, particularly concerning sound and technology. My dissertation work concerns the articulation of embodied perceptual skills, technological systems, and economies of affect within the fields of sound recording and signal processing. I'm interested generally in the ways we orient and attune ourselves to particular socio-technical orders. In addition to my ongoing ethnographic work with recording and design professionals, I'm currently obsessed with the history and politics of quantization, its relations to cybernetics and information theory, and the ways in which it is implicated in the construction of the senses.