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1. Come Together Now

   Come Together Now uses recorded sound and technology as an invitation rather than a mediation of entertainment. The aim of this work is to bring people together with a pre-recorded sound composition, remove the recorded sounds as they sit down, leaving them with their own space to create a musical experience.

   As a participant approaches the space they can hear a track being played that is composed of the instruments that they see in the installation. Pressure sensors placed between tree stump seats and cushions detect when a person has sat in front of an instrument. A computer program will then turn the volume down on the track being played, corresponding to the instrument that has been taken up by the participant, and a vocal track is proportionally turned up into the mix. As all seats are taken by the participants all pre-recorded sound of the instruments will have been replaced with the live performances and will now be accompanied by a pre-recorded vocal chant.

   Mona Pihlamäe - 31.08.2017 - 12:16

2. COFA Annual 2010

   College of Fine Arts (COFA), University of New South Wales is organising its latest graduation exhibition at Sydney.

   The COFA Annual 2010 features a stunning array of animation, ceramics, drawing, digital imaging, environments, graphics, installation, interactive media, jewellery, motion graphics, objects, painting, photography, printmaking, sculpture, sound, textiles and video works by COFA's more than 350 graduating students.

   The exhibition is an amazing opportunity to see Australia's next generation of creative talents before they make it big.

    

   Mona Pihlamäe - 11.09.2017 - 13:56

3. music/sound/noise

   music/sound/noise is an ebr thread.

   Thread editor from 2006-07: Trace Reddell. MusicSoundNoise was initiated in the winter of 2000/01 by Cary Wolfe and Mark Amerika. msn logo and animation created by Cynthia Jacquette.

   (Source: ebr)

   Pål Alvsaker - 12.09.2017 - 14:48

4. Autopia

   Autopia is a simple text generator that presents language as if it were endless traffic. The headline-style sentences that are produced are made entirely of the names of cars — no other lexemes are used. While the Web version uses a JavaScript port of espeak to do text-to-speech synthesis, it is not necessary to present the work in a gallery setting with sound.

   Autopia is available as free software. It is also published in print form, as a book, by Troll Thread, a New York press. It has been exhibited in galleries.

   Nick Montfort - 19.04.2018 - 23:10

5. Urs Schreibers "Das Epos der Maschine": Wenn konkrete Poesie digital wird

   Urs Schreibers "Das Epos der Maschine": Wenn konkrete Poesie digital wird

   Patricia Tomaszek - 23.07.2018 - 16:30

6. Cling-Clang-Cornelius: Digital Sound Poetry as Embodied Posthumanism

   Starting from the problematic gap between the unicity of the human voice and the socio-cultural variables that are unavoidably attached to her expressions, this presentation proposes the phenomenon of ‘sound poetry’ as paradigmatic bridge between a biological reality and its posthuman condition. The underlying reasoning harks back to media artist and philosopher Norie Neumark’s remark that sound poetry like no other mode of artistic expression “stimulates reflection on the uncanny and complicated relation between embodiment, alterity, and signification” (2010). Most notably the appropriation and – literal – embodiment of electronic technologies in digital sound poetry has recently yielded a new dynamic to the performativity of poetic composition. With today’s technical possibility to sample and mediate minimal acoustic nuances in the here-and-now we are allowed a glimpse into the supplement of meaning generated by the meeting between text/script and voice/sound. Such post-human amplification of an intrinsically arch-human act accordingly finds its broader relevance broadside conventional aesthetic standards. 

   Carlos Muñoz - 03.10.2018 - 15:57

7. Fuora Grenen

   Denne digitale fortellingens forgreninger gror frem som fra en væskefylt plante, fylt med opplysninger og sidespor. Ved å likestille informasjon fra ulike felt, vitenskaplige eller personlige, belyser 'Fuora Grenen' nye dødvinkler i det mikro-makro-kosmiske perspektiv. (nrk.no)

    

   Miriam Takvam - 31.10.2018 - 15:50

8. Sound Spheres

   Sound Spheres combines computational digital media and storytelling techne to provide an interface with which users can create and experience interactive aural narratives. Sound Spheres was conceptualized and created to encourage active engagement with sound sources (the colored spheres) representing narrative elements. Participants may engage these sound spheres to construct aural narratives using multiple interactive techniques. As participants do not know the contents of sound spheres, narratives constructed using this technique are serendipitous, similar to actively tuning a radio from one station to another, hoping to find interesting aural content. Meaning is supplied by the participant's interpretation, which, in turn, depends on memory, cultural context, and previous hearing experiences. Sound Spheres suggests that engaging narratives can be created from non-dialogic sound sources. And, through its remix of radio, aural narratives, and non-linear composition, Sound Spheres demonstrates new methods for creating and experiencing interactive digital storytelling.

   Vian Rasheed - 12.11.2019 - 00:14

9. Sound and queer affirmative space in augmented reality

   Despite the burgeoning interest in the creation of imaginative spaces in AR and VR, very little focus has been given to sound. This paper borrows aspects of cinema studies and cultural geography to argue that sound can create a discursive environment and a queer space in Augmented Reality (AR). Referring to Michel Chion’s Audio-vision (1990), and Steven Shaviro’s Post-cinematic affect (2010), I explore how the assemblage of aural, visual and haptic in AR pieces, such as Caitlin Fisher’s ‘Chez moi’ (2014), create what Lev Manovich (2001) calls ‘hybrid spaces’, spaces visually disjointed but semantically connected. In ‘Chez moi’, Fisher invites the viewer to put on their headphones and watch the video on their smartphone while walking down Hayden street in Toronto, where the lesbian bar Chez moi was located when Fisher was a teenager. The audiovisual piece augment the physical reality of the viewer through a montage of various media forms, such as Fisher’s voice over, images of news reports, and fictitious audio and images.

   Vian Rasheed - 12.11.2019 - 03:21

10. Digital Sound Poetry: Peripheral Platform for Posthuman Performativity

    According to Steve McCaffery (1998), sound poetry’s primal goal concerns “the liberation and promotion of phonetic and sub-phonetic features to language to the state of a materia prima for creative, subversive endeavors.” (163). Accordingly, it thrives on an embodied conflict between expectation and interpretation as it allows communicative ‘uptake’ while problematizing the communicative ‘relation.’ Or, as Brandon LaBelle (2010) argued, “sound poetry yearns for language by rupturing the very coherence of it.” The ‘techniques’ thereby employed vary widely: mounting idiosyncratic language and notational systems, performing spontaneous and improvised poetical oralities, fooling with the performer’s body to rupture the ordered movements of vocality, or indeed by appropriating new technologies and digital devices in order to disassemble, reconfigure, and ‘cobble together’ personal or imported sounds and utterances.

    Vian Rasheed - 12.11.2019 - 03:47

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