I got to talk with the UCD Aggie newspaper about my involvement with Marit McArthur's project on tools for analyzing vocal performance: https://theaggie.org/2018/02/04/developing-tools-analyzing-spoken-vocal-performance/
Eliot Bates and Samantha Bennett's edited volume on Critical Approach to the Production of Music and Sound is now out! It's an extremely diverse and exciting collection of essays, and I was lucky enough to get to contribute a chapter on pitch correction and conversational repair. RIYL Auto-Tune, Conversation Analysis, transcoding, repair studies, reflexivity, and speech prosody. A sample diagram:
Excited to announce that I'll be providing live sound design for and exploration of Vocal Tactics this Wednesday, in collaboration with Prof. Margaret Laurena Kemp and some amazing performance studies grads.
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..