geluid/muziek back-up

ZIP audio_opname_2018

PDF Russolo – The Art of Noise (futurisme – manifest)
PDF Marinetti (futurisme – manifest)

tags: Schönberg, serialisme, futurisme, The Art of Noises (Russolo, 1913), Manifesto of Futurism (Marinetti, 1909), noise instrumenten: Intonarumori (Russolo), urbane/geïndustrialiseerde landschap

“Our musical alphabet must be enriched. We also need new instruments very badly. (…) Musicians should take up that question in deep earnest with the help of machinery specialists. (…) In my own work I have always felt the need of new mediums of expression. I refuse to submit myself to sounds that have already been heard. What I am looking for are new technical mediums which can lend themselves to every expression of thought and keep in touch with thought.”
Edgard Varèse – Composer, Sound Sculptor, Visionary (Woodbridge, Suffolk: The Boydell Press), p. 92

MUSIC AS AN ART-SCIENCE
“And here are the advantages I anticipate from such a machine (-instrument): liberation from the arbitrary, paralyzing tempered system; the possibility of obtaining any number of cycles or if still desired, subdivisions of the octave, consequently the formation of any desired scale; unsuspected range in low and high registers; new harmonic splendors obtainable from the use of sub-harmonic combinations now impossible; the possibility of obtaining any differentiation of timbre, of sound-combinations; new dynamics far beyond the present human powered orchestra; a sense of sound-projection in space by means of the emission of sound in any part or in many parts of the hall as may be required by the score; cross rhythms unrelated to each other, treated simultaneously, or to use the old word, ‘contrapuntally’ (since the machine would be able to beat any number of desired notes, any subdivision of them, omission or fraction of them)-all these in a given unit of measure or time which is humanly impossible to attain.”
Edgard Varèse – The Liberation of Sound

PDF Edgard Varèse – The Liberation of Sound
YOUTUBE Edgar Varèse – Poème électronique

YOUTUBE Pierre Schaeffer – Études de bruits
YOUTUBE Pierre Henry – The Art of Sounds
YOUTUBE Luc Ferrari – Presque rien n°1
YOUTUBE Delia Derbyshire – “Falling”, from The Dreams

“I learned that the microphone was hearing sounds that I missed while listening during the recording. (…) The microphone and tape recorder became extensions of my body and amplified my hearing. The tape recorder became an essential tool in my development as a composer, performer, and improviser. The tape recorder enabled me to more deeply access body consciousness through improvisation.”
Pauline Oliveros

tags: radio studio’s, Varèse, poème électronique, Le Corbusier, Xenakis, musique concrète, Pierre Schaeffer, Pierre Henry, Luc Ferrari, BBC radiophonic workshop, Delia Derbyshire, Daphne Oram, Else Marie Pade, liberation of sound, nieuwe instrumenten/media, opname, field recordings, bewerken van geluiden, spatialisatie, grafische score, acousmatisch luisteren, elektro-akoestische muziek, elektronische muziek

METER
TIME BASED
western notation
duration / process / situation
sequences
tape / phasing
HARMONY / MELODY
SOUND / NOISE
pitch
non-pitched
modes / scales
no tonality / textures / sound masses

JOHN CAGE

YOUTUBE A Year With John Cage – How To Get Out Of The Cage (documentary)
UBUWEB – JOHN CAGE
PDF John Cage – a conversation about radio
LINK John Cage – archive

tags: Schönberg, serialisme, prepared piano, silence, tijd, duur, proces, chance operations, zen boeddhisme, I Ching, moment to moment vs moment form, Music of Changes, 4′ 33”, Williams Mix, Imaginary Landscape No. 4, Radio Music, Roaratorio

OPEN WORKS  (Earl Brown) – GRAFISCHE SCORE
Earl Brown’s compositions and those of contemporaries such as John Cage, Christian Wolff, Karlheinz Stockhausen, and Henri Pousseur marked a radical shift in contemporary classical music – a shift that Chris Cutler sees as marking the boundary between two technological eras: the age of print and the age of recording, the former favoring fixed, bounded works, the latter fluid, open ones. The conventional score presents a “closed work.” It uniquely determines pitch, rhythm, meter, instrumentation, and formal shape, offering only a little latitude for performer interpretation (for example, with regard to tempo and dynamics). But in the 1950s and ‘60s, Brown, Cage, Wolff and other began to produce genuinely “open” works that gave enormous freedom to performers. Given the score and instructions for ‘December 1952’, for example, two faithful ‘realizations’ (as such performances came to be called) could be radically different musical experiences.

PDF Earl Brown – Folio and Four Systems Prefatory Note

“‘Graphic scores’ such as ‘December 1952’ offer performers a radical degree of freedom. Composers such as Pierre Boulez and Karlheinz Stockhausen came to advocate a more modest form of performance indeterminacy they termed “aleatory” composition. The opening section of Boulez’s ‘Third Piano Sonata’ consists of standard musical notation distributed over 10 sheets of paper, which the performer can arrange in any sequence he or she likes. Stockhausen’s ‘Klavierstück XI’ consists of 19 discrete passages of notation scattered over a single large sheet of paper. The performer is instructed to begin wherever his or her eye falls on the page and then proceed to any other passage as he or she wishes. The performance ends when any one passage has been played three times.”
Christoph Cox & Daniel Warner – Audio Culture / readings in modern culture (Continuum), p. 165-166

LINK http://post.at.moma.org/content_items/452-graphic-scores-tokyo-1962
LINK https://llllllll.co/t/experimental-music-notation-resources/149/192
PDF Fluxus Workbook
YOUTUBE Alison Knowles – Make a Salad
PDF Umberto Eco – The Poetics of the Open Work

PDF Max Neuhaus on Sound Art
PDF Brandon LaBelle on Max Neuhaus

YOUTUBE Hildegard Westerkamp – Kits Beach Soundwalk

“The Soundwalking series was a program I created for Vancouver Co-operative Radio in 1978/79. The basic idea was for me to  record sounds and soundscape in many different places in and around Vancouver. My initial thought at that time was that this could be perceived as something really strange by regular radio listeners. In order to make things easier to understand, I decided to make my voice a type of mediator between the environment in which I was recording and the radio listener, even if used very sparsely. I would give information about the context of that recording: the place where I was, the time of the day, what was happening around me, really anything that a radio listener could not know about.”
Hildegard Westerkamp – Sonic interactions with the world: an interview with Hildegard Westerkamp

JANET CARDIFF
VIMEO Janet Cardiff – Alter Bahnhof Video Walk

“All of my walks are recorded in binaural audio with multilayers of sound effects, music, and voices (sometimes as many as 18 tracks) added to the main walking track to create a 3D sphere of sound. Binaural audio is a technique that uses miniature microphones placed in the ears of a person or dummy head. The result is an incredibly lifelike 3D reproduction of sound. Played back on a headset, it is almost as if the recorded events were taking place live.”

“Auditory knowledge is a radical epistemological thrust that unfolds as a spatio-temporal event: sound opens up a field of interaction, to become a channel, a fluid, a flux of voice and urgency, of play and drama, of mutuality and sharing, to ultimately carve out a micro-geography of the moment, while always already disappearing, as a distributive and sensitive propagation. From my perspective, this makes sound a significant model for also thinking and experiencing the contemporary condition, for as a relational spatiality global culture demands and necessitates continual reworking.”
Brandon LaBelle – Acoustic Territories: Sound Culture and Everyday Life, p. 15tags: soundwalk, Max Neuhaus, soundscape, The World Soundscape Project, R. Murray Schafer, Hildegard Westerkamp, Janet Cardiff, augmented reality, Christina Kubisch, elektrostatisch geluid

PDF Michel Chion – Audio Vision. Sound on Screen

David Lynch: “You see, once you start down a road to make film you enter a certain world. And certain things can happen in that world, and certain things can’t. Depending on the world, many, many things can happen but still certain things can’t. So you begin to know these rules for your world, and you’ve got to be true to those rules. And you feel your original idea that inspired you so much, and you have to go back and be true to that, too. And then you look down into the details; every little space has a possible sound that will work there, and others that won’t. It’s just this process of action and reaction as you go along; but it’s amazing how the wrong sound will just pop up – and you’ve got to get rid of it. And the right sound is sometimes really hard to nail down. Sometimes just silence is a beautiful thing. Contrast, too, is so powerful. Everything can’t be loud, and it can’t all be quiet. The way it’s orchestrated is dictated by the story, the characters, the way it’s paced. And so it turns into a kind of symphony, and like a symphony it’s got to move a certain way.”
David Lynch – Soundscape, The School of Sound Lectures 1998-2001 (The School of Sound Limited) p. 50-51

Bernard Hermann: “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.”

Nicholas Cook – Analysing Musical Multimedia (Oxford) p. 67

PRINCIPLE OF DIFFERENCE
“The music is not simply more or less similar to the pictures, in the static manner of Eisensteinian correspondence. Instead, the relationship between music and pictures has a dynamic, processive character, passing from difference at one level to similarity at another: by virtue of jumping the diegetic gap, as I put it, the music signifies in a manner that is qualitatively different from the pictures, and the issue of parallelism or counterpoint accordingly takes on a quite different aspect.”
Nicholas Cook – Analysing Musical Multimedia (Oxford) p. 66

“Words and pictures in the cinema almost invariably supply the gross emotional identifications; the role of the music is generally to structure and inflect the emotion, and in particular to give greater definition to its passage through time.”
Nicholas Cook – Analysing Musical Multimedia (Oxford) p. 95

GELUID IN FILM (Jasha Viehl)
– Production sound & wild tracks
– Field recording alongside the film shoot
– Field recording
– Foley YOUTUBE Caoimhe Doyle demonstrates movie sound effects
– ADR (‘Automatic’ of ‘Automated Dialog Replacement’)
– By-Mouth sound generation
– Synthesis
– Own library and sounds of finished projects
– Libraries (LINK archive http://bbcsfx.acropolis.org.uk/)

DIËGETIC versus NON-DIËGETIC SOUND (Bordwell & Thompson)
“(…) Diegetic sound is sound that has a source in the story world. The words spoken by the characters, sounds made by objects in the story, and music represented as coming from instruments in the story space are all diegetic sound. (…) Alternatively, there is nondiegetic sound, which is represented as coming from a source outside the story world. Music added to enhance the film’s action is the most common type of nondiegetic sound. (…) The same holds true for the so-called omniscient narrator, the disembodied voice that gives us information but does not belong to any of the characters in the film. Nondiegetic sound effects are also possible. (…) Many compilation documentaries include no diegetic sound; instead, omniscient voice-over commentary and orchestral music guide our response to the images.”
Bordwell, David and Thompson, Kristin – Sound in the cinema, chapter 9

ONSCREEN versus OFFSCREEN
“(…) Diegetic sound can be either onscreen or offscreen, depending on whether its source is within the frame or outside the frame. A shot shows a character talking, and we hear the sound of his or her voice. Another shot shows a door closing, and we hear a slam. A person plays a fiddle, and we hear its notes. In each case the source of the sound is in the story (diegetic) and visible within the frame (onscreen). But the shot may show only a person listening to a voice without the speaker being seen. Or a shot might show a character running down a corridor and the sound of an unseen door slamming. (…) In all of these instances, the sounds come from within the story (again diegetic) but are now in a space outside the frame (offscreen).”
Bordwell, David and Thompson, Kristin – Sound in the cinema, chapter 9

CHANTAL AKERMAN
‘The final mixed sound track is made of few sounds, mostly amplified effects and room tone with a minimum use of off-screen sounds that could add complexities to the visual field. Akerman avoids most off-screen sounds unless it serves a dramatic function. And, if there is music, it is in general a solo instrument, like a singular voice, mostly the cello. It serves as musical white noise that interiorises the actions of the protagonists. (…) In her fiction films Akerman uses dramatic ambient sound and effects and sometimes substitutes ambience by music but the mixing of all the sound elements always comprises just a few sounds and primarily clarifies the actor’s emotional state rather than his or her actions. The camera movements are motivated by the dramaturgy and anchored by the actor’s presence, and the final mixed sound reinforces the physicality of the space around the protagonist.’
LINK source http://sensesofcinema.com/2015/chantal-akerman/sound-strategies/

YOUTUBE Chantal Akerman – Saute ma ville
YOUTUBE Chantal Akerman – Là-bas

YOUTUBE Chris Marker – La Jetée

ENCODED vs EMBODIED SOUND
PDF Dense Clarity by Walter Murch
“The clearest example of Encoded sound is speech.
The clearest example of Embodied sound is music.”

“When you think about it, every language is basically a code, with its own particular set of rules. You have to understand those rules in order to break open the husk of language and extract whatever meaning is inside. Just because we usually do this automatically, without realizing it, doesn’t mean it isn’t happening. it happens every time someone speaks to you: the meaning of what they are saying is encoded in the words they use. Sound, in this case, is acting simply as a vehicle with which to deliver the code.

Music, however, is completely different: it is sound experienced directly, without any code intervening between you and it. Naked. Whatever meaning there is in a piece of music is ’embodied’ in the sound itself. This is why music is sometimes called the Universal Language.

What lies between these outer limits? Just as every audible sound falls somewhere between the lower and upper limits of 20 and 20,000 cycles, so all sounds will be found somewhere on this conceptual spectrum from speech to music. Most sound effects, for instance, fall mid-way: like ‘sound-centaurs,’ they are half language, half music. Since a sound effect usually refers to something specific – the steam engine of a train, the knocking at a door, the chirping of birds, the firing of a gun – it is not as ‘pure’ a sound as music. But on the other hand, the language of sound effects, if I may call it that, is more universally and immediately understood than any spoken language.”
Dense Clarity – Walter Murch

YOUTUBE Walter Murch – Encoded Sound
YOUTUBE Walter Murch – Embodied Sound

PDF Fargo Screenplay
PDF Barton Fink Screenplay

PDF David Lynch – Lost Highway Screenplay
YOUTUBE David Lynch – Lost Highway (opening)

LINK The Work of Hildegard Westerkamp in the Films of Gus Van Sant
YOUTUBE Elephant (School Shooting)

YOUTUBE Arrival – Acoustic Signatures: The Sound Design
YOUTUBE SoundWorks Collection: The Sound of Gravity
YOUTUBE Sound Design – Star Wars Episode II

PDF Films

tags: klassieke cinema, sensomotorisch schema, zuiver optische en sonore beelden, diëgetisch verus non-diëgetisch geluid, onscreen versus offscreen, foley, isolated sound, voice over (ADR), long static shots, tracking shots, location (live) sound, physicality of the space around the protagonist, emotionele cue, ontwikkeling personage, passage through time, Walter Murch, Dense Clarity, encoded & embodied sound, rule of six, geluid in film, foley, Caoimhe Doyle, Fargo (film + Netflix series), Bernard Hermann, the principle of difference, emotional cue, Elephant, Hildegard Westerkamp, Michael Haneke, Gilles Deleuze, Lost Highway, David Lynch, temp track, sci-fi, wind, transducer recording, panning, atmos, Ben Burtt, foley, sound design, Arrival, opname, wind & processing ipv plugins, opname skype/TV/etc.

“The recorded voice is severely distorted so that the text is scarcely intelligible. This sonic manipulation dramatizes the sound of the voice: the voice sounds as if not directed towards the listener, and the listener is put in a position of ‘overhearing, or listening obliquely to the conversation’, as the composer explains. (…) In the sleeve notes, the composer explains the omission of Mr. Rochester’s voice as a consequence of this ‘overhearing’: the listener is not able to hear everything.’
‘Verbal and non-verbal voice sounds and non-vocal sounds belong to different perceptual categories. Since the continuities, discontinuities and ambiguities between such categories involve perceptual switches, the listener is ultimately confronted with the listener’s own auditory perception. By breaking up language into sound, electro-vocal acousmatic music opens the ears of listeners to the sound in language.’
‘In contrast to the triangular relation of composer – performer – listener in score- based music, the usual situation in acousmatic music is the configuration of composer – electroacoustic apparatus – listener. Both composer and listener are in an intimate relation to the electroacoustic apparatus because the sound of the composition depends on the audio equipment. The composer is in close contact with the equipment while working with it intensely over a long period of time. The possibilities and constraints of the technology are crucial for the composition, and the creativity of the composer emerges from interaction with the technology. Technology is an important part of the discourse of electroacoustic composition.”
Bosma, H.M. – The Electronic Cry: Voice and Gender in Electroacoustic Music 
LINK http://www.markcartwright.com/research/lpc-toolkit/

ANNE LA BERGE
“In RAW the musicians are invited to work on unfinished musical material, and to collectively create a work in real time, as they are given ongoing random choices. For this new interactive work Anne La Berge has written a Max patch allowing each player to influence the development of the piece by sending a message to the patch at his or her own discretion, by means of a touch on a tablet screen. The patch reacts in turn and ‘chooses’ the next combinations of players, types of music to play combined with play back or pre-recorded text samples. (…) The players follow calls and take cues in an unending whirlwind of cause and effect. Pure and raw timbres collide with processed materials, questioning the way in which the ear finds or loses familiarity with musical idioms. The piece cuts through worn musical habits and jettisons both audience and players back and forth squarely and simultaneously to point zero & point omega.”
LINK Unsounds

PDF Narrative Fiction – Rimmon-Kenan
PDF Narrative Discourse – Genette

PDF EINSTEIN ON THE BEACH – libretto

“I went toward the idea of sounds having a kind of magical function – of being able to actually conjure characters. It seemed to me that in a sort of psycho-physical sense sounds can actually make you see things, can give you images that are quite specific.”
Robert Ashley – The Wire

“I have never liked the way American composers have tried to adapt American English speech to a European style,” he states. “Which, if you listen to every opera that has ever been written by an American composer, has basically come down to one syllable per note. My idea is that American English doesn’t have the kinds of vowel sounds that allow for vocal embellishment of the vowel sounds as in Italian, and of course Italian is our model. There are very few pure vowels in American English. Most American English vowels are diphthongs or vowel sounds that are attached to resonant consonances.”
Robert Ashley – The Wire

PDF Robert Ashley – Perfect Lives
PDF Robert Ashley – Stories from Real Life
YOUTUBE Robert Ashley – Perfect Lives (The Park)
PDF Robert Ashley – The Backyard

“The instrumental accompaniment to Celestial Excursions, created by sampling the vocal patterns of the singers and arranged into ‘orchestral libraries’ controlled by Tom Hamilton, shifts continuously from a symphony of chords and articulated notes to waves of quiet noise that lend a haunting reverberation to the prevailing atmosphere.”
Robert Ashley – The Wire

LINK Music with Roots in the Aether (with David Behrman, Philip Glass, Alvin Lucier, Gordon Mumma, Pauline Oliveros and Terry Riley)

“‘Automatic Writing’ became a kind of opera in my imagination and I began looking for the other characters in the opera. The ‘fourness’ that was a characteristic of the text of the recorded involuntary speech (which I transcribed faithfully after I got over the shock of hearing it in my own voice) and that dominated the musical form also came to dominate the choice and number of characters. I knew there should be four, and I knew that I would know them when they appeared. I will end this long story by saying that the other three characters (the Moog synthesizer articulations, the voice of the French translation, and the background organ harmonies) were, to my surprise, as unplanned, even ‘uncontrolled,’ in their various ways as was the text of the involuntary speech. And that is how I knew who they were and why they had come to the party.”
Robert Ashley – liner notes

YOUTUBE Robert Ashley – She was a visitor
YOUTUBE Robert Ashley/arr. Yannis Kyriakides – She was a visitor

YOUTUBE Yannis Kyriakides – Wordless
“The concept of Wordless revolves around the removal of semantic language from speech to leave only the so-called ‘paralinguistic’ aspects: hesitations, gasps, sighs, as well as emotional reactions and environmental sounds. Which kind of semiosis remains after this lexical dissection? What remains of the personality of the speaker when words are taken away? Usually it is very difficult to notice even the vocalisations that envelope language, because our attention is so accustomed to only focusing on the discursive aspect of speech. But there is much more occurring around speech than merely words. Linguist Fernando Poyatos defines this space around words as ‘paralanguage’: the nonverbal voice qualities, voice modifiers and independent utterances produced or conditioned in the areas covered by the supra-glottal cavities (from the lips and the nares to the pharynx), the laryngeal cavity and the infra-glottal cavities (lungs and oesophagus), down to the abdominal muscles, as well as the intervening momentary silences, which we use consciously or unconsciously supporting, or contradicting the verbal, kinetic, chemical, dermal, and thermal or proxemic messages, either simultaneously to or alternating with them, in both interaction and non-interaction. (Poyatos 1993: 6)

We get some sense of the physiology of the speaker from the quality of voice we hear at the beginnings and endings of words, but because the main core of worded speech is removed, there is more focus on the ‘differentiators’ and the ‘alternants’. Differentiators are parts of speech that give clear emotional information about the speaker, they include: laughter, crying, sighing, gasping, panting, coughing and other more involuntary sounds that interrupt speech. (Poyatos 2002: 59). Alternants, more relevant in the case of Wordless, are almost a complete subsystem of speech, that encompass expressive interjections around words, which consciously or subconsciously communicate some emotion, or qualify in some way what is being expressed in words. An example of this are the many expressions denoted by the sound “h’m”, which can denote: approval, disapproval, hesitation, unbelief, admiration, acknowledgement, interest, disinterest, curiosity, anger, contempt, surprise, pleasure, displeasure, concern, suspicion, pondering, superiority. (Poyatos 2002: 143)”
Yannis Kyriakides – Music-Text-Film

Drummer 0404
“A Gambian drummer is interviewed by two children about his life as a musician, the different instruments that he plays, and the cultural adjustments that he had to make coming to Europe from Africa. The interview is held in Dutch, which for all the participants is their third language. In the course of the interview the children burst intermittently into fits of giggles, which seems to be ignored by the adults. It turns out that some amorous noises coming from an upstairs room are attracting their attention. At the end of the interview the drummer gives an example of his djembe technique.”
Yannis Kyriakides – Music-Text-Film

VIMEO Yannis Kyriakides – Varosha / Disco Debris

“I had the idea of using the metaphor of a discotheque to convey the sense of the hedonism of Varosha in its heyday. This was related to the fact that before the invasion, my father used to run a live music venue in Nicosia, where many singers and musicians from the Middle East used to perform. The idea of using fragments of Greek, Turkish and Arabic pop songs from the early 1970’s was reinforced by the fact, that while I was in Famagusta in 2008, I had an interesting encounter and conversation in a music store, whose Turkish Cypriot owner, made me six compilation CD’s of Turkish golden oldies from the 1970’s, containing most of the musical gems that I used in the piece.

The way the piece was initially conceived was that voices, disembodied and granulated like the state of the buildings left standing in Varosha, would be mapped into different paths and planes in a neutral space, so that the visitor to the installation, would traverse and collide with these fragments, as if uncovering an invisible architecture. The public would enter one at a time into a dark room, in which they would experience the sensation of metaphorically walking through sonic debris. One would stumble onto a landscape of frozen voices, barely recognisable shards of 1970’s pop music, static bird song, broken pulses of disco music reduced to an almost Geiger-like clicking and ghostly resonances. These imaginary spaces were mapped onto a topography of intersecting voices and sounds, slowly transforming over time. Technically this was achieved by using a video tracking system that mapped the movements of the audience onto a granulated moment of sound. The position of the person in the space would determine which moment in time would be heard, as if they were a play-head of a tape machine, or a stylus of a record player traversing the remains of a debris of vinyl. Technically, the software was handled by a patch developed using STEIM’s Junxion, which handled the mapping of the video camera and the granulation algorithms created in Kyma. There would be 4 or 5 paths created at any given moment, which would be mapped onto different sounds and voices, so that if one would walk in a particular direction at a given speed, a normal playback of the file would occur. If one would walk in the other direction, the sound-file would sound reversed; if one would stop, the resulting sound would be a granular freeze. Crossing the path would result in a fragment of audio being momentarily audible. These paths and sounds would gradually morph through the process of time, changing their identity and function, so that one never had a complete sense of the full audio landscape.”

“The holes left by the missing words, both in the text and in the speech are sometimes answered by the sound or voices in the music, which shifts from illustrating or evoking the landscape, to recounting meta-narratives in song. The idea behind this was to create a disintegrating narrative space full of gaps, like the environment it is describing. The layers of voices in the work: disembodied, live-processed, sung, granulated and silent, are always in the process of shifting hierarchy within the field of our attention. The voice is ever present, articulating different perspectives between subjective experience and the objectivity of the journalists’ account. Gradually by the final song, we hear the voice of the singer, disintegrating as it slowly morphs into a granular texture of sped-up field recordings.

As well as original recordings of songs from the 1970’s, the voices used were made up of different recordings of people re-voicing these songs. I played audio of different songs, in Turkish and Greek, to non-native speakers and asked them to sing along as best as they can. I wanted the tentative, hesitant quality, which would emerge when tracing the contours of these songs, as if remembering an image from the distant past. As well as voices, there were various other layers of sound. Pulses made out of typical 1970’s drum beat of rock and pop patterns, which would also granulate and change tempo as the visitor moved in the space. A siren-type layer which would come on intermittently, comprising of two triangle wave drones that would change pitch depending on the position of the visitor, and different audio field recordings made in the area, capturing the sounds of birds and insects, the principal inhabitants of the area these days.”
Yannis Kyriakides – Music-Text-Film

“Another source of sound, which eventually became a side-project in itself, was a Demis Roussos record on which I blow-torched outlines of the map of the buffer zone and military bases around Famagusta. I used the aptly named record: On the Greek Side of Mind, released in 1974, the year of the invasion. The audio recordings of these warped records were also used as material for the piece.”
Yannis Kyriakides – Music-Text-Film

sound sculptuur – installatie

Klankenbos klankenbos.be
Dordtyart (Dordrecht) dordtyart.nl/archief

SUSAN PHILIPSZ 
BRIAN ENO – MUSIC FOR AIRPORTS
JACOB KIRKEGAARD – SWIMMING POOL
CARSTEN NICOLAI – AUTONOMO
mixed media sound installation, 9 aluminium plates suspended, 200 tennis balls and a tennis ball machine
DAVID FRIED – SELF ORGANIZING STILL-LIFE
LAURIE ANDERSON – a virtual reality of stories
extra tags: games, environmental storytelling, interactive fiction, text adventure games, http://textadventures.co.uk/

HANS PETER KUHN – AC 1000-fache Zustimmung (A Thousand Agreements)
Sound Installation, Galerie Fragile Gesellschaft, Berlin (DE)
Loudspeakers, Cassette Players – 14 loudspeakers were standing on the floor of the tiny gallery in Berlin Charlottenburg. Each speaker was connected to a separate tape-player. 14 friends were asked to record 72 positive words each on tape. These tapes were played back which took about 14 minutes. Whoever stayed for these 14 minutes received 1000 agreements.

HANS PETER KUHN – AC 1000-fache Zustimmung (A Thousand Agreements) Sound Installation, Galerie Fragile Gesellschaft, Berlin (DE) Loudspeakers, Cassette Players 14 loudspeakers were standing on the floor of the tiny gallery in Berlin Charlottenburg. Each speaker was connected to a separate tape-player. 14 friends were asked to record 72 positive words each on tape. These tapes were played back which took about 14 minutes. Whoever stayed for these 14 minutes received 1000 agreements.