This course involves the study of source recording, sonic manipulation and sonic installations. Although the course contains technical components, its focus is strictly aesthetic. A range of techniques will be examined, together with an investigation of current manifestations of Sonic Art in the UK and around the world, including installation art and bioacoustics.
Discussion and analysis of the potential links between sound, light, structure, ecology, location and image will lead to experiments and exercises in the aesthetic and technical creation of acousmatic spaces. Students will be expected to investigate their own performance/demonstration opportunities and compose/arrange/design their creations to take account of the site-specific performance/exhibition space.
Students will provide their collected exercises in a portfolio including a critical evaluation placing the student’s work in the context of current trends in sonic art as well as providing a basis for the students own criteria and judgement.
Deadline: (week 11) Friday 12 April 2pm;
what to submit?
A project documented as a webpage on a GitHub repository.
The webpage needs to succinctly describe your project with some text (between 300 - 500 words) and one short video (between 4 - 5 min).
The repository needs to have a ‘README.md’ file acting as your logbook.
Other supporting material e.g. pictures, videos, sound files, programming code, etc. embedded in the website or hyperlinked from it, or uploaded to the repository.
Please submit the url of your repository on Canvas.
The setup of a GitHub website is explained further in class. If you couldn’t attend this class, please check this tutorial. Planning, purpose and implementation for the project need to be in consultation with your module tutor. Progress needs to be demonstrated weekly with an up to date logbook.
introduction to the module
relationship between canvas site & this web page
basic info on canvas site
decide on deadline: week 11, (before Easter), week 12 or soon after
we need to talk about what you want to do, how the outcome of this module can be in line with what you will do after graduation
resources: last year’s resources, organise and extend them according the our decisions made today
setup of github repo for your online portfolio share url to repository with tutor
use ‘README.md’ in the root of your repository
watch and discuss Christopher Cox: ‘History of Sound Art’ (see resources)
The point is…whether in our schools of serious music we shall confine ourselves to finer and still finer degrees of perfection in the “interpretation” of past treasures, whether we shall go on devouring or unconsciously absorbing vibrating frankfurters to the point of melomaniacal satiety at which our appetite vanishes, or whether some few of us will chuck the music school, turn off the radio, and go into the kitchen and cook ourselves a nourishing meal. ~ Harry Partch: Genesis of a Music
Last week’s tasks:
1) refine your keywords;
2) write a good draft for an abstract;
3) use the keywords to look for references, ideas, books, academic
3.1. google scholar;
3.2. the online library;
3.3. the university library (the real/physical one with books you
can touch and smell);
4) look through all Richard’s material I sent you a few weeks ago.
Add notes from 1-4 to your logbook.
art of coffee
shall we go?
A. GitHub Pages, Html and Markdown Syntax
Understand what a repository in GitHub is.
Understand how to turn a repository into GitHub pages i.e. static website.
Understand the difference between forking, cloning and downloading a repository.
Understand the basics of Markdown and how it relates to html.
Understand the relevance of a .css file for an aesthetic layout.
Customise the style and arrangement of their one pager website.
Lucien Castaing-Taylor & Véréna Paravel, Leviathan, 2012, film as sound art
Cage: art has to imitate nature, its purposelessness;
Lucier: sound as wavelengths;
not all sound art makes sound;
modes of sound art: soundwalk, soundscape, installation, film and video;
visual art is everywhere, sound art is still not everywhere, why?
when we start listening differently, by shifting attention, we will design our own soundworld (Schafer);
psychical space, virtual and psychological space;
The Turner Price
from 1984; why was it started? is controversial good? private source cash; are artists in competition with each other? the best and the worst artist is the same in one year; arts’ power to change things; “art to exhibit and having it operate in the world” is important, not the price; art in social enterprice; when it started no one liked modern art, now (perhaps with the help of this price) people like it more;
Dr James Fox explores how, in the hands of artists, the colours gold, blue and white have stirred emotions, changed behaviour and even altered the course of history. In the Age of Reason, it was the rediscovery of the white columns and marbles of antiquity that made white the most virtuous of colours. For flamboyant JJ Wickelmann and British genius Josiah Wedgwood, white embodied all the Enlightenment values of justice, equality and reason.
mixture of fearful and beautiful in an artwork (the sublime beauty in a volcano eruption);
chaos and order, mathematics is poetry;
music is mathematics for the ear;
real vs virtual;
human’s deepest property is imagination;
An Image of Sound
Photography and Sound (BBC4)
Photographer Andrew Heptinstall is embarking on a quest to see whether a photograph can deliver information over and above a pure image; details of the sound of a place that only the photographer could have known at the time of its capture. He spends a day on Hadrian’s Wall in Northumberland with blind contemporary photographer Rosita McKenzie and meets Professor Fiona Macpherson, a philosopher from Glasgow University to gain an insight into human senses and perception. His many attempts over 6 months to capture the quality of sound within his images take him on a journey as far as Australia; yet he is only at the beginning of his journey as he continues to search for An Image of Sound. ~BBC4
auditory imaginary (person specific, past experience);
5 + more senses, modalities interact in many different ways;
The assignments should be considered as your own projects, not something you have to do for me or the university. Follow the rules outlined in the module guide, assessment criteria, etc., however, please keep in mind that the outcomes of your assignments can (and should) become part of your professional portfolios, which you later can use for networking, job hunting, etc.
Due to different student experience and expectations, this outline can be subject to change. Detailed notes for each week will be added gradually to this website.