And a link:
And a link:
Tekst som lyd #3,
Thursday 22nd January, 19:00 hrs
Approx. 45 min
Studentene ved Skrivekunstakademiet ønsker velkommen til en uformell framføring av egne tekster akkompagnert av lyd. Dette som avslutning på workshop med Per Platou denne uka. Studentene som deltar og urframfører egne små tekster er Gunnar Buer, Sivert Nesbø, Mari Bakken Hoem, Siw-Anita Kirketeig, Erlend Kaldåga Madsen, Millan Persdotter Persson, Lars Haaga Raavand, Kjersti A.Skomsvold, Eirik Strandabø, Eirik Wixøe Svela, Lars Svisdal. Lydteppene spenner fra Autechre og Arnold Schønberg til Ryojo Ikeda, Fosen og Modest Mouse (med mykje meir).
One of the speakers at Music Technology Days was a representative from a Norwegian company who are breaking through in the area of software for sound production, namely something called energyXT2.
“Create music today, rather than tomorrow…
With features such as no loading-time, all-in-one synth, fx and sequencer, drum machine track, high quality time-stretching/pitch-shifting, REX2 and VST plugin support…you just can’t go wrong with energyXT2.”
(from the website)
For those of you who may be familiar with working with sound software, it is not unlike cubase – but has much less features, and is designed for people who are not necessarily sound enginneers! He stated that it was designed so that anybody could get to grips with it, and its alot cheaper too. The software can be run from a USB stick, which means you can take your projects and work on them on any computer – it also cross platform.
As the company is just taking off, and the software relatively new, it is looking for groups of test pilots who get it for free (on USB stick) with the understanding that they provide feedback to the company about how it is to use. I have written a mail to him to sugget that we can form a test group here at the Academy, and that it would be a good idea to involve those who are more experienced in working with sound software, as well as those who are inexperienced.
If you are interested in becoming a test pilot, please put your hand in the air in a comment below.
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.
I saw that Mattias enhanced our webpage with his inputs and thought that I would do the same. First off: It was very regreatfull that my pice “ The Final Countdown” is not going to bee shown at Ekko. But as I said I hope to present this work to you at another point in time.
To day I spent an hour talking to Amanda about my MA project and I was really happy to get such great and constructive feedback. It is difficult sometimes to describe your thought on a project and that is why using your “Hovedveileder” is so important.
Well, I sust wanted to share what Ken Ikeda wrote in the sleeve of his “Mist on the window”:
There are moments in your life when something changes as you hear and become aware of the sounds around you. Why do the sounds that cups and chairs make feel so distant? It seems that ‘I’ as an existence won’t be forgiven for being my ordinary self. The meaningless noise that reverberates in the living room opens up the possibility of connecting beyond the horizon… Then, I become alone and say goodbye to the ‘Me that was pretending to be like me’.
By assimilating these everyday sounds I get away from the everyday me and get closer, little by little, to the universe of ‘eternity and nothingness’. At this point – meaning the moment I change – I enter a personal time and space which could never be shared with others.
During the 2 years spent on this project I used an instrument made with rubber bands and nails to document my daily involvement with sounds. There exist various faces of ‘me’ and through the process of recording I became aware of the concept of ‘beyond the window’ and got lost in this vague daily space.
What could you see beyond the window? The whole universe and at the same time the usual me living my daily, ordinary life.
Amanda this is what I was trying to say…………
Things I like: