Index of Titles Filed Under 'Experimental Sound'

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 ...
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 ...
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.
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” / ...
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 ...
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 ...
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
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 ...
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 ...
PublisherEar | Wave | Event2017
Art is, has always been, as Bersani suggests, a kind of alternative to “sex,” another mode of modulating the most intimate relation between soma and psyche. And the stakes of that “other” mode, those “other relational fields,” would be toward the articulation of forms of life divorced from the literal and symbolic traces of white hetero-sexist patriarchy. Our contention is that musicians such as Oliveros, as well as authors featured in this issue, have inherently understood and been working on this all along. The current political moment demands that we not only perpetually recall the radical orientation of “the experimental” ...
PublisherLateral Addition2017
Last fall, I was touring and performing my piece “Falsetto” every night. It’s a strange, physically difficult, fumbling, deliberately incompetent (or maybe a different type of expert) performance played almost entirely with small bells found at thrift stores, purchased with the criteria that they must in some way sound unusual or broken or just “not nice,” and also that they cost less than $5 each. The sound of the bells is great. When layered, it’s a complex, weird, and unpredictable sound made with exceedingly humble means – literally just jostling a bunch of crap around that I found at Goodwill. However, ...
PublisherLateral Addition2017
A conversation between Khyam Allami and Sharif Sehnaoui recorded at OneHertz Studios, Beirut, late 2017 Two musicians with very different backgrounds and itineraries in music discuss their visions and some of the ideas behind their distinct practices and methods. The conversation is set within the greater context of advancing contemporary ideas into the space of Arabic music. Here, Arabic music is not thought of as a fixed thing but rather as a historical and cultural background that lends various shades of meaning to each artist’s work. Though there was not quite enough time to fully expand upon the ideas discussed, the conversation ...
PublisherLateral Addition2016
We love too late! “I hadn’t been asked,” Udo Kier shouts into a microphone. Kier, the German actor of Cologne origins recites from a pamphlet against the lack of transparency in local politics as part of a performance initiated by Rosemarie Trockel in 2002. The occasion for the art-performance was a huge hole in the city-center of Cologne that emerged as a result of the demolition of a public contemporary art space, the Josef-Haubrich Kunsthalle, which was built in 1967. The local politicians that planned the destruction of the modern concrete building only recognized that there was no budget for a ...
PublisherLateral Addition2014
1. 00:00 Base Mutant was recorded to tape in the basement at 16th and Moore, between January and April of 2014. I made around six versions, trying out different BPMs and filters, but this one sounded best. Like the other tracks, this one was written on a Yamaha PF-500 and a MC-909. On the 909, I primarily used the synth voices “SonicVampire” and “Dial,” both of which were programmed by long-time Roland Engineer Nick Tidy. Aside from doing sound design for Roland— including 909 as well as 303 voices— Tidy composed soundtracks for a number of shareware games, most notably “Starscape.” ...
PublisherPAN2015
In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera—a mutant configuration of two geneti- cally discrete solo works—was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and arrives as PAN’s inaugural offering of 2015. Both artists, as the art historian Alex Kitnick notes in his text accompanying the release, have a demonstrated interest in sound and its material effects; Hecker’s acute, algorithmic computer music is noted for impacting the very molecular infrastructure of its ...
PublisherLateral Addition2015
Voice, drums, recordings here and there. Composed July – August, 2015 I started this piece walking down by the Limmat on a cold, windy day. Whitecaps chopped the water and I was a bit out of breath from fighting the wind and trying to keep warm by moving at a brisk pace. Under the Hardbrücke the deep resonance there swallowed me up. A long rowboat chained to the concrete pilings of the bridge whipped to and fro in the strong current. I headed up the stairs to my studio. Schulhaussingen happens twice a year at my kids’ school. I usually go and I ...
PublisherLateral Addition2015
On June 6th and 18th of 2015, I recorded the sounds Enrico produced from manipulating empty aluminum cans. Discouraged by the boomy sound of Enrico’s living room (let alone the noises coming from a few hyperactive neighbors) we decided to take the car out and go in search of a quiet spot in the country. On the crest of a hill we found an almost anechoic slope, populated by dense tall grass. We wanted the recording to be “pure” – as dry and close up as possible in order to verify with plenty of sonic detail the reasons an object ...
PublisherLateral Addition2014
Since the Autumn of 2012 we have been attempting to connect a variety of musical and conceptual work in which we feel strongly exists in, points towards, or employs an area that could be described as the liminal. We both feel that this is not something so easily defined, does not have to do with a particular kind of work, nor is a particular thing or perceptual understanding. Yet at the same time we feel that in some music or ideas this area becomes quite important- actually vital to the total experience- even if it is not to be directly ...
PublishersBuró—Buróelnicho2017
How to approach the accessibility of new music to new audiences? How to entice people to get closer and discover without preconceptions or reluctance—but rather as a new form of participation and natural listening experience, what is often perceived as difficult music? What is the relationship of this music, if any, with contemporary arts in a way that it may grasp the attention and active involvement of the spectator and/or listener? Sound and music seem to have been underwhelmingly part of contemporary museums. However, they are shyly making their way in the area of contemporary art, often via visual artists keen ...
PublisherLateral Addition2017
For this piece, I created a foundation – or “backing track” – that can be used for a variety of playback scenarios. It incorporates on-site recordings and excerpts of cassettes and audio files from my personal archive, including: crowd noise (date and time unknown), guitar and tape recordings (2006 or 2007), synthesizer and electronics (2008), percussion / loop cassettes (2007), and recordings of live noise shows (artists unknown, circa 2008). Preference was given to sounds of an unknown or barely remembered origin. These audio clips were mixed with recorded ambiences from a visit to Vox Populi Gallery in Philadelphia on the afternoon ...
PublisherLateral Addition2014
Music for The Memphis Group was written in late 2013, inspired by the Milan design collective of the same name. The work produced by the association of international artists – active between the years 1981 and 1987 – playfully engaged in hypothetical and pragmatic applications (furniture, apparel, sculpture, kitchenware) for emerging global resources, both synthetic and organic, rare and commonplace. The loud colors, plastic laminate, and asymmetrical patterning was intended in part as a rejection of dominant Modernist aesthetic ideals of the time – ideals that still hold over today in contemporary attitudes concerning clean, “essentialist” design. The Memphis Group’s willful, ...
PublisherLateral Addition2013
Please read the following instructions before playback: The audio above is not the work but a means to facilitate the dynamic listening which you must perform. Throughout playback you must adjust the volume of your playback system in relation to the constantly shifting loudness of the audio track. The object of continual volume adjustment is to maintain as constant a resulting perceived volume as possible, despite continual changes of volume built into the track. Performance requires constant attention to the track’s loudness and simultaneous compensation in relation to its changes: – if the track gets louder, you must turn down playback volume; – if the ...
PublisherLateral Addition2017
i composed two versions of one work earlier this year. one is “from audience” (documenta 14 radio program); one is “for audience” (the ecology of place; a cinema listening event in melbourne). for both i used only sound recordings of audiences and their environments before, during and after concerts. recently i received “live” recordings of the latter event in which the audience in melbourne contributed their sounds into the other audience’s sounds of my composition. it’s about 27 minutes long. the next day, september 13th 2017, i recorded this audio at my new studio in beijing. i was sitting in the space, ...
PublisherRadio Web Macba2010
“Radio Music” connects three examples from the history of the potential of the radio receiver as musical instrument, from its early beginnings in the twenties as captured on a comedy record, to formal art experiments in the forties and fifties, to its nostalgic presence in one of the very first song-based pop music collage albums, which heralded the now familiar practice of sampling. Since 1990, Jon Leidecker has performed appropriative collage music under the pseudonym Wobbly, improvising live with prerecordings to coax the harmonies out of the recorded sounds of individuals from disparate cultures. Previous and ongoing projects include the bands ...
Publisheronestar press2004
Radiodays is a temporary radio station that the Curatorial Training Program organized in April 2005 at Stichting De Appel, Amsterdam. During one month artists, writers, musicians and theorists were invited to produce new works, lend existing works or interpret them specifically for the radio broadcast. Radiodays book is published as a reflection on the broadcast and on radio as a format in itself. From different points of view the authors of the book search for a possible interpretation of the program, try to explain the motivation from the organizational site and review the realization itself.

We use cookies to improve your experience on our site. Read our privacy policy to learn more. Accept

Join Our Mailing List