On Closing a Loop – Disciplinarity and Openness

An interesting article written by Joost Rekveld for the Baltan Laboratories that deals with “notions of (inter-, multi- and trans-)disciplinarity, their limits and possibilities for new approaches”.

http://www.baltanlaboratories.org/?p=1436

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What is Art?

See Lars Vikks’ answer to the question in five parts on Youtube:

Part 1: http://www.youtube.com/watch?v=1sUE68stj6g
Part 2: http://www.youtube.com/watch?v=M3ZjpDwY8BQ
Part 3: http://www.youtube.com/watch?v=Agn9PngjmI8
Part 4: http://www.youtube.com/watch?v=n_Xw0alXkU0
Part 5: http://www.youtube.com/watch?v=3HgZSFoNENo

NB: Recommended for discursive purposes! What do YOU think?

Theory in praxis

I think most of you are aware of the Electromagnetic Fountain project I’m working on, and I would like to share some thoughts on this with you. The fountains water jets and lights are to be controlled by the properties of the digitized sound that is emitted from its electromagnetic detectors. The sounds are erratic; they scream, pop and rush. Some of them are regular, and pulse-like, such as those emitted from wireless networks. Some have a pattern of sorts (mobile phone transmission and reception). These are digital transmissions. Analog transmissions and leakages from street lights, etc, occur more like waves than pulses – but can break up into crackles, and they can howl and scream. How can I address these sounds, encompassing both the experience of them (phenomenological) and an analysis of them? There are 3 stages that I have identified for my approach:

1. Listening to the detectors, and identifying:
– how they make me feel
– the source of the signals (mobile phone, electrical leakage, etc) and where its coming from (cell phone tower, street light, etc)

2. Without thinking about the above, giving the sounds phenomenological descriptors (light/heavy/soft/hard/bright/dark/sharp ….)

3. Searching for what kinds of sound analysis (spectra, sound envelope, frequency, amplitude, etc) I should use as source for controlling the 2 pumps (analog) 5 water valves (digital) and 8 rgb, colour changing led lights.

4. Putting theory into practice by trying different strategies out on the fountain, and sensing the results. In other words, returning to the start of the equation, which is me, and asking how does this make me feel!

To be able to carry out points 2 and 3, I am delving in to the realms of theory related to sound phenomenology, analysis and organisation. I am reading the following publications to help me sort out my thoughts, and to be able to communicate my ideas to sound people who may be able to assist me:

Understanding the Art of Sound, Leigh Landy, The MIT press, ISBN 2007. 978-0-262-12292-4

The Sounding Object, Phenomenology of Sound Events, Report version: 1.0, 2001, Project co-ordinator, University of Verona.

Relational Aesthetics?

This reference could be particularly useful for Åke and Bettina.

In several tutorials the term relational aesthetics, or relational art has popped up.

Here is a link to a review by Marit Paasche of  Relasjonell estetikk (Relational Aesthetics), Nicolas Bourriaud, published in Norwegian by Pax Forlag, 2007.