Index of Titles Filed Under 'Experimental Sound'

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PublisherLateral Addition2016
A knife is cutting through air, relentlessly. However, it cuts very slowly, by degrees and in circles; it’s a wooden knife, not very sharp, like a butter knife but with teeth. The structure upon which this knife is attached has a light bulb resting on it, a light bulb with a rather complex metallic grid inside, vibrating softly with every degree of the knife’s turns. Then there is a strip of paper or a piece of thin cardboard, suspended; three toothpicks are leaning on and pushing this cardboard but they are not strong enough, the cardboard barely undulates. Sometimes a toothpick ...
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PublisherTriple Canopy2020
“A Cinder Block Falling on Concrete” consists of sounds and stories from Lawrence Abu Hamdan’s Earwitness Inventory, a personal library of sound effects related to the testimony of earwitnesses in criminal investigations. The objects in Earwitness Inventory are derived from interviews that Abu Hamdan has conducted with earwitnesses, as part of his work as a “private ear,” as well as transcripts from trials across the globe. (Multiple entries concern the reconstruction of Syria’s Saydnaya prison and the experiences of detainees, which Abu Hamdan undertook with the London-based research agency Forensic Architecture and Amnesty International from 2015 to 2017.) The library ...
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Alternative lexicons, sonification of thought, cultural software, hauntologies and political bodies, are some of the possibilities that are offered here as a means to contribute to a renewed set of ideas towards design agency. Presented here as both lecture and prompts, sections may be read aloud as scripts, as action with others; or single pages torn out to become a tactic for experimentation; or an image to evoke a totem of belief that might interact with others. Active Agency is a series of speculative lectures on design as an agentive phenomena encompassing language, matter, ontology and sound. Supported by Research at Camberwell, ...
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PublisherLateral Addition2015
This audio comprises binaural and stereo recordings. As a result of the mix, it is best experienced when listened to on headphones. The binaural audio is related to the research I conducted during my residency at EMPAC in Troy, New York in 2014. During two weeks in May 2014, I created different architectural configurations employing 16 moveable walls made out of materials with various acoustic properties. I placed many speakers around them to compose sounds that focused attention in different ways, an approach that reinforces sonic hierarchies. In November 2014, I focused on one particular wall/speaker configuration and invited choreographer Jocelyn Tobias ...
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PublisherTriple Canopy2020
“Now we have to learn to listen to the speechless ruins.” A meditation on Black silence.
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PublisherRadio Web Macba2009
The conversations which form the basis for this interview took place in March 2002 (email interview by Anna Ramos) and July 2008, during Yasunao Tone’s visit to Barcelona, coinciding with his performance at MACBA, and were continued by email with Tone, Fell, Hecker and Held during February-March 2009. Tone’s work has also been featured on issues 1 and 7 of the Ràdio Web MACBA programme Lines of Sight.
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PublisherBureau2017
JUNE 2017 WOJCIECH BAKOWSKI KOT ‘Intro’ Album: „Kły” / ‘Fangs’ 2007 Label: Pinkpunk Music: Wojciech Bakowski KOT „Kły” / ‘Fangs’ Album: „Kły” 2007 Label: Pinkpunk Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Ściana” / ‘The wall’ Album: „Kształt” / ‘Shape’ 2010 Label: Bocian records Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Widok pokoju” / ‘View of the room’ Album: „Telegaz” / ‘Tv – prog’ 2014 Label: Dunno recordings Music and lyrics: Wojciech Bakowski Wojciech Bakowski “Ciemno” / ‘Darkness’ 2008 Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Zasypianie z nerwów 2” / ‘Falling asleep out of anxiety 2’ Album: „Telegaz” / ‘Tv – prog’ 2014 Label: Dunno recordings Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Ukrycie w rogu szósej planszy” / ‘Hide out in the corner of level 6’ Album: „Duchy kotów” / ...
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PublisherLateral Addition2017
In Collapsing Ourselves from 2014, Hong-Kai Wang and Mattin presented a formal exploration of a dialogue in disorienting spatial contexts: four tracks layered over each other with varying levels of audibility, Chinese, English, sounds from different spaces, digital artifacts, snippets of self-reflexive conversation. This was done not as a way to innovate a new compositional framework or sound, but rather to problematize the social experience of playing the recording back, listening to it, and reflecting on it. With this next iteration of the project, the process of superimposing four recorded conversations is repeated, though this time it was done with material ...
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PublisherOnCurating.org2020
What are the roles of the curator in the music field, and how does the work materialize? What kind of practices are involved? Defragmentation – Curating Contemporary Music was a project that attempted to highlight some of the problems and urgent questions that we find in today’s contemporary music scene. Within the frame of ideas around gender, diversity, decolonization and technology, Defragmentation looked at – and tried to understand – structures in various institutions of contemporary music. The ambition was to investigate how the urgent sense of fragmentation and disconnection that exists in the public sphere at the moment is materialized ...
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PublisherLateral Addition2017
i’ve been obsessed with chris tucker’s early work recently the lines sound so much different in the present moment than they did to me in the past they now are more like prescient articulations of a horrifying future or a gonzo present each message opens up its own rift in time and space i get caught in these little eddies, the accumulation of which has become pessimist rush hour – WWIV
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PublisherEar | Wave | Event2014
Ear │ Wave │ Event is tired of hearing that music or sound is beyond language or outside meaning. Ear │ Wave │ Event can’t deal with another hymn to the ethicality of hearing. Ear │ Wave │ Event will scream if another art historian reports “discovering” sound.   Ear │ Wave │ Event does not consider the descriptive cataloguing of audio recordings as criticism.  Ear │ Wave │ Event was founded because there is a growing community of artistic practitioners and theorists who are eager to come together and address those strains of sonic intelligence (material, intellectual, other) that are ...
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PublisherEar | Wave | Event 2015
While we’ve applauded recent moves in art history and media studies challenging the hegemony of the visual, why does the waxing art world topicality of “listening” seem to be inversely proportional to sound practitioners’ waning interest in it? Does it really have to turn up on e-flux before people pay attention? Haven’t musicians, composers, and sound artists all over the world been thinking listening for centuries?… The contributors to Issue 2 face the immense material complexity of listening head on – physically, technically, formally, politically, socially. Their contributions continually orbit the question, ‘What is Listening?,’ all the while deftly dodging all ...

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