Pub Date : 2019-09-18DOI: 10.5040/9781509923298.ch-10.4
Lilac Atassi, David Kim-Boyle, Seth Thorn
An audio feedback system that iteratively uses a room as a sound filter can be an artistic medium generating fascinating sounds. In this system, the room is not the only component acting as a filter. The sound system component, i.e. the speaker and microphone, also can have a sizeable impact on the sound in each iteration. To make sure the relative influence of the room on the sound is revealed and not masked by the audio system, the author proposes using a common calibration method at the end of each iteration. The mathematical model of the system is used to explain the reasoning behind the use of this method. Following this procedure, the author conducted an experiment that shows sound interaction with the room over time being captured in the artwork.
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Abstract This article investigates a turn from eye to ear in the literature and practice of walking-as-art. Arguing for listening as a feminist and ecologically oriented mode of engaging with the world, the author examines the practice of soundwalking (Westerkamp) and Deep Listening (Oliveros), placing them in conversation with the work of Michel de Certeau, and concludes with a discussion of the creative projects of Suzanne Thorpe, Viv Corringham and Amanda Gutierrez in order to chart the importance of relational listening practices today.
摘要本文探讨了行走艺术在文学和实践中的一种从眼到耳的转变。作者认为倾听是一种女权主义和以生态为导向的与世界接触的模式，作者考察了有声练习(Westerkamp)和深度倾听(Oliveros)，将它们与Michel de Certeau的作品进行了对话，最后讨论了Suzanne Thorpe, Viv Corringham和Amanda Gutierrez的创造性项目，以便绘制当今关系倾听练习的重要性。
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This article discusses the author’s visual music compositional practice in the context of similar work in this field. It specifically examines three pieces created between 2015 and 2017 that fused digital animation techniques with electronic sound. This approach contrasted with the author’s earlier compositions, which featured electroacoustic music and video concrète.
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CHI, SANDRA MERCEDES; and GIL, ANDRÉS FELIPE. “‘Manifiesto Manizales’ Una Experiencia Trans disciplinar,” Leonardo 52, No. 2 (2019). ANDERSON, CASEY, with BENT DUO. “ ‘Page 7’ from ghostses,” Audio Track, “LMJ29 Audio Companion,” Leo nardo Music Journal 29 (2019). AO, MENGXING, and XU, YINGQING. “Epistemic Ecology: An Artwork of Gigapixel Imagery and Ideas,” Leo nardo 52, No. 2 (2019). ARAUJO, PATXI. “The Trained Par ticles Circus: Dealing with Attrac tors, Automatons, Ghosts and Their Shadows,” Leonardo Special Issue: SIGGRAPH 2019 Art Papers and Pro liferating Possibilities Art Gallery, Leonardo 52, No. 4 (2019). ARNS, INKE. “Zero Gravity, AntiMime sis and the Abolition of the Horizon: On Cosmokinetic Cabinet Noor dung’s ‘Postgravity Art,’ ” Leonardo 52, No. 1 (2019). ASSI, ANTHONY. “Gaze Relations: A Critical Analysis of Human Gaze and Computer Vision,” in Special Section “TopRated LABS Abstracts 2018,” Leonardo 52, No. 5 (2019). ATASSI, LILAC. “Reducing the Effect of Imperfect Microphone and Speaker in Audio Feedback Systems,” Leonardo Music Journal 29 (2019). AUSTEN, KAT. “Sounding Dispersal as a Route to Empathy with the Chang ing Arctic,” Leonardo Music Journal 29 (2019). BAETENS, JAN. Review of Cognitive Gadgets: The Cultural Evolution of Thinking by Cecilia Heyes, Leonardo 52, No. 3 (2019). BAETENS, JAN. Review of Digital Re naissance: What Data and Economics Tell Us about the Future of Popular Culture by Joel Waldfogel, Leonardo 52, No. 5 (2019). BAETENS, JAN. Review of Diva Nation: Female Icons from Japanese Cultural Culture edited by Laura Miller and Rebecca Copeland, Leonardo 52, No. 5 (2019). BAETENS, JAN. Review of List Cultures: Knowledge and Poetics from Mesopota mia to BuzzFeed by Liam Cole Young, Leonardo 52, No. 1 (2019). BAETENS, JAN. Review of Never Alone, Except For Now: Art, Networks, Popu lations by Kris Cohen, Leonardo 52, No. 1 (2019). BAETENS, JAN. Review of Passwords: Philology, Security, Authentication by Brian Lennon, Leonardo 52, No. 2 (2019). BAETENS, JAN. Review of A Taste for the Beautiful: The Evolution of Attrac tion by Michael J. Ryan, Leonardo 52, No. 1 (2019). BAETENS, JAN. Review of Traversals: The Use of Preservation for Early Elec tronic Writing by Stuart Moulthrop and Dene Grigar, foreword by Joseph Tabbi, Leonardo 52, No. 3 (2019). BAETENS, JAN, and SÁNCHEZMESA, DOMINGO. “A Note on ‘Demedia tion’: From Book Art to Transme dia Storytelling,” Leonardo 52, No. 3 (2019). BAHR, GISELA SUSANNE; ALLEN, WILLIAM H.; BERNHARD, PHILIP J.; and WOOD, STEPHEN. “The Ar tificial Memory of Mr. Polly: Mem ory Simulation in Databases and the Emergence of Knowledge,” in Special Section “ArtScience,” Leonardo 52, No. 3 (2019). BARBER, JOHN F. Review of Designed for HiFi Living: The Vinyl LP in Mid century America by Janet Borgerson and Jonathan Schroeder, Leonardo 52, No. 2 (2019). BARBER, JOHN F. Review of High Static, Dead Lines: Sonic Spectres and the Ob ject Hereafter by Kristen Gallerneaux, Le
{"title":"Leonardo Volume 52 and Leonardo Music Journal Volume 29","authors":"Sandra Mercedes","doi":"10.1162/lmj_x_01075","DOIUrl":"https://doi.org/10.1162/lmj_x_01075","url":null,"abstract":"CHI, SANDRA MERCEDES; and GIL, ANDRÉS FELIPE. “‘Manifiesto Manizales’ Una Experiencia Trans disciplinar,” Leonardo 52, No. 2 (2019). ANDERSON, CASEY, with BENT DUO. “ ‘Page 7’ from ghostses,” Audio Track, “LMJ29 Audio Companion,” Leo nardo Music Journal 29 (2019). AO, MENGXING, and XU, YINGQING. “Epistemic Ecology: An Artwork of Gigapixel Imagery and Ideas,” Leo nardo 52, No. 2 (2019). ARAUJO, PATXI. “The Trained Par ticles Circus: Dealing with Attrac tors, Automatons, Ghosts and Their Shadows,” Leonardo Special Issue: SIGGRAPH 2019 Art Papers and Pro liferating Possibilities Art Gallery, Leonardo 52, No. 4 (2019). ARNS, INKE. “Zero Gravity, AntiMime sis and the Abolition of the Horizon: On Cosmokinetic Cabinet Noor dung’s ‘Postgravity Art,’ ” Leonardo 52, No. 1 (2019). ASSI, ANTHONY. “Gaze Relations: A Critical Analysis of Human Gaze and Computer Vision,” in Special Section “TopRated LABS Abstracts 2018,” Leonardo 52, No. 5 (2019). ATASSI, LILAC. “Reducing the Effect of Imperfect Microphone and Speaker in Audio Feedback Systems,” Leonardo Music Journal 29 (2019). AUSTEN, KAT. “Sounding Dispersal as a Route to Empathy with the Chang ing Arctic,” Leonardo Music Journal 29 (2019). BAETENS, JAN. Review of Cognitive Gadgets: The Cultural Evolution of Thinking by Cecilia Heyes, Leonardo 52, No. 3 (2019). BAETENS, JAN. Review of Digital Re naissance: What Data and Economics Tell Us about the Future of Popular Culture by Joel Waldfogel, Leonardo 52, No. 5 (2019). BAETENS, JAN. Review of Diva Nation: Female Icons from Japanese Cultural Culture edited by Laura Miller and Rebecca Copeland, Leonardo 52, No. 5 (2019). BAETENS, JAN. Review of List Cultures: Knowledge and Poetics from Mesopota mia to BuzzFeed by Liam Cole Young, Leonardo 52, No. 1 (2019). BAETENS, JAN. Review of Never Alone, Except For Now: Art, Networks, Popu lations by Kris Cohen, Leonardo 52, No. 1 (2019). BAETENS, JAN. Review of Passwords: Philology, Security, Authentication by Brian Lennon, Leonardo 52, No. 2 (2019). BAETENS, JAN. Review of A Taste for the Beautiful: The Evolution of Attrac tion by Michael J. Ryan, Leonardo 52, No. 1 (2019). BAETENS, JAN. Review of Traversals: The Use of Preservation for Early Elec tronic Writing by Stuart Moulthrop and Dene Grigar, foreword by Joseph Tabbi, Leonardo 52, No. 3 (2019). BAETENS, JAN, and SÁNCHEZMESA, DOMINGO. “A Note on ‘Demedia tion’: From Book Art to Transme dia Storytelling,” Leonardo 52, No. 3 (2019). BAHR, GISELA SUSANNE; ALLEN, WILLIAM H.; BERNHARD, PHILIP J.; and WOOD, STEPHEN. “The Ar tificial Memory of Mr. Polly: Mem ory Simulation in Databases and the Emergence of Knowledge,” in Special Section “ArtScience,” Leonardo 52, No. 3 (2019). BARBER, JOHN F. Review of Designed for HiFi Living: The Vinyl LP in Mid century America by Janet Borgerson and Jonathan Schroeder, Leonardo 52, No. 2 (2019). BARBER, JOHN F. Review of High Static, Dead Lines: Sonic Spectres and the Ob ject Hereafter by Kristen Gallerneaux, Le","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"29 1","pages":"104-109"},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64408163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Digital technology can be used as a scenographic tool to project visual settings in the theatrical space. However, digital scenography that incorporates “faux-interactivity,” or the illusion of a causal relationship between live performers and digital elements, can also serve as a form of notation that digitally preserves the physical movement of live performers through scenographic context. This paper explores the potential for faux-interactive scenography as a method of spatial notation through which scenographic environments might contribute to understandings of authorial intent in a traditionally ephemeral space.
{"title":"Notation by Context: Digital Scenography as Artifact of Authorial Intent","authors":"Caitlin Vincent, J. Vincent","doi":"10.1162/lmj_a_01044","DOIUrl":"https://doi.org/10.1162/lmj_a_01044","url":null,"abstract":"Abstract Digital technology can be used as a scenographic tool to project visual settings in the theatrical space. However, digital scenography that incorporates “faux-interactivity,” or the illusion of a causal relationship between live performers and digital elements, can also serve as a form of notation that digitally preserves the physical movement of live performers through scenographic context. This paper explores the potential for faux-interactive scenography as a method of spatial notation through which scenographic environments might contribute to understandings of authorial intent in a traditionally ephemeral space.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"72-76"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01044","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48865216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Using Karlheinz Stockhausen’s Solo für Melodieinstrument und Rückkopplung (1965–1966) as a starting point, the authors investigate the affect and effect of technological transference when reproducing historical repertoire with live electronics. A suggestion of technical transparency often accompanies digital sound technologies; we aim to challenge this notion. We argue that the coloring that emerges with digital media can (and perhaps should be) used to inject new life into, and ask new questions of, the works that are being preserved.
{"title":"On Stockhausen’s Solo(s): Beyond Interpretation","authors":"Juan Parra Cancino, J. Mulder","doi":"10.1162/lmj_a_01036","DOIUrl":"https://doi.org/10.1162/lmj_a_01036","url":null,"abstract":"Abstract Using Karlheinz Stockhausen’s Solo für Melodieinstrument und Rückkopplung (1965–1966) as a starting point, the authors investigate the affect and effect of technological transference when reproducing historical repertoire with live electronics. A suggestion of technical transparency often accompanies digital sound technologies; we aim to challenge this notion. We argue that the coloring that emerges with digital media can (and perhaps should be) used to inject new life into, and ask new questions of, the works that are being preserved.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"13-18"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01036","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46315406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The article discusses a sound installation premiered during the 70th anniversary of the New Music Summer Courses in Darmstadt. The project proposes a dialogue between the archive of the Internationales Musikinstitut Darmstadt (IMD), which preserves the voices of contemporary music composers who lectured at the summer courses, and Archivo PAIS, the author’s personal archive of anonymous voices of street vendors, informal preachers, institutional announcers and street artists. Speech analysis software, transducers, modified stethoscopes and a 15-meter-long by 4-meter-high fence were used to reflect on issues of survival, access and displacement though sound.
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Mihail Iossifov, Tsvetana Ivanova, Juan Parra Cancino, Karin de Fleyt, Brice Soniano, Nicolás Varchausky, Nigel Dr. Helyer, Jon Dr. Drummond, F. Otondo, Rebecca Hackemann
The Music of the Love Hormone – Oxytocin represents the challenge to translate biological form (science) into musical form (art). Using a specially developed methodology, we linked the two sides affecting human emotions: hormones, from the inside (science), and music, from the outside (art). DNA codes the proteins, such as hormones, via four letters (nucleic acids) forming three-letter words (codons). Each codon sets one amino acid from the protein’s structure. We have developed an original algorithm in which each codon of DNA represents a certain note. The length of the note is determined by the time needed for the ribosome (cell organelle, producing proteins) to add the corresponding amino acid to the structure of the protein. In this way, the sequence of musical notes is mapped onto the DNA code, and the threedimensional structure of the protein determines the music tempo. The objective of this investigation is to present the properties and the impact of one of the most important human hormones: oxytocin, a hormone called “the love hormone.” Oxytocin is produced in the brain, in the hypothalamus, and is involved in social recognition, maternal affection, and possibly in the formation of empathy and trust between people. As a result, we generated a complete, extremely provocative musical work. In order to verify the accuracy of the musical interpretation, a neurological test was performed and the neurological impact of the hormone and its music was investigated. The preliminary results of this study are presented in this issue [1]. The developed methodology is innovative and creates bridges between art and science knowledge: Physics, genetics, molecular interactions, human physiology, neurology, biofeedback and neuroaesthetics are correlated with music theory and human perception, aiming to get one step further in the development of a “complete mind.” The Music of the Love Hormone – Oxytocin started as an initiative of Art & Science Research Foundation “Re:” in 2014 in Sofia, Bulgaria, fulfilling the challenge to translate biological form into musical form. It is a result of the collaborative work of a cross-disciplinary research team specially assembled as follows: Tsvetana Ivanova, art and science project director; Rositza Marinova, PhD physics student; Todor Ivanov, physicist and algorithm developer; Leandar Litov, physicist; Agnieshka Deynovitch, biofeedback; Mihail Iossifov, composer and musician; and external experts: Dimitar Kolev, neurologist, and Elena Lilkova, computer simulations and 3D structure of the oxytocin receptor. The composer Mihail Yossifov underwent in-depth scientific training about the genetic structure and principles and corresponding 3D structures and intermolecular behavior of the hormone, from its birth and its transportation to the receptor, along with its neuropsychological properties. After internalizing all this knowledge about the invisible nature of this most important human hormone, he had to translate its str
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