Archive | October, 2011

Modes of Listening

31 Oct

Francisco Lopez: ‘Profound Listening and Environmental Sound Matter’

Brian Eno, ‘Ambient Music’: Eno_Ambience

Pauline Oliveros, ‘On Sonic Meditation’: On Sonic Meditation

David Toop, ‘Sinister Resonance; The Mediumship of the Listener’

Ola Stockfelt: ‘Adequate Modes of Listening’

Mark Slouka, ‘Listening For Silence’


Dynamic Range Compression

24 Oct

The ‘Aural Pheromone’ of Muzak:

Auditory Spatial Awareness

17 Oct

Please Read Chapter 2 From, ‘Spaces Speak, Are You Listening; Experiencing Aural Architecture’, by Barry Blesser and Linda-Ruth Salter. © MIT Press 2007. Reading Discussion led by Anthony and Makia

Experiencing _Aural_Architecture

In preparing your project development, include:

-A definition of ‘soundscape’, as you have derived it from our discussions and readings.

-An explanation of your use of field recording to the project.

-Citations of any relevant readings/works and their connection/inspiration/research to the project.

-Consideration of the balances/imbalances of sonic, environmental impact (tenets of research in acoustic ecology) as expressed through the work.

Acoustic Communication, &…

10 Oct

Here are two Short essays for everyone to read this week. -Nick and Laura, can you both focus on ‘Media As Translators’, and ‘Acoustic Communication’ to lead together:

Acoustic Communication: Breaking_Constraints

Media As Translators: Media_Extension

Brett Balogh will visit this week, here is his site:

Also, I recommend spending some time listening through the Framework archive (location recordings utilized in various ways by an international network of sound artists); feed://

Here is an Intro from the Framework Site:

framework began broadcasting in june, 2002 on the newly reformed resonance 104.4fm in london. the show now airs on 5 radio stations around the world, with more to follow soon, and streams and podcasts here on it’s own website.framework is consecrated to field-recording and it’s use in composition, and began broadcasting at a time when a new community of sound artists with a special interest in found sound was developing, a community spread across the world that, thanks to the internet, was no longer limited to a specific geography. framework sees itself as an outlet for this ever-growing and developing community, a folk-tool in a new folk movement, a community driven exchange point for creators and listeners alike. framework‘s goal is to present not only the extremely diverse sound environments of our world, but also the extremely diverse work that is being produced by the artists who choose to use these environments as their sonic sources. we hope to ask this question: is ‘field-recording’ a style, or a genre, or is it in fact as uncontrollable and undefinable an instrument or tool as any, that may be interpreted, manipulated, and appropriated by anyone with a microphone and an idea? these works are its definition, and not vice versa.


5 Oct

Manfred Easton; A thesis on physiological parameter control through sensory and electrical stimulation.


Pulse Project

4 Oct

October 8: Send in Statement of proposed project subject/general outline.

October 20: Present completed mid-term project with files/supporting materials.

We have been reading, discussing and exploring how researchers of Acoustic Ecologies have utilized various listening and recording approaches to consider and represent the tenuous balance between natural and cultural, sonic information and the impact that this soundscape has on its inhabitants.

After having examined and participated in several creative applications of field recording methodologies centered on Sound Walks, we will produce a short investigative project that emulates the form of the program, Pulse of the Planet:

‘Each weekday, Pulse of the Planet provides its listeners with a two-minute sound portrait of Planet Earth, tracking the rhythms of nature, culture and science worldwide and blending interviews and extraordinary natural sound.’

How much can you reveal and convey the nature of a place through sound? What sonic information do you extract and augment from recording found, ambient conditions to reconstruct a soundscape? As a guide to these sonic experiences, consider the balance of sound to narrative voice in enhancing the representation of place. In focusing our research on the auditory, a sound environment no longer seems to behave as passive background, but functions as a dynamic system interconnected with place and space, individuals and their social, political milieu.

Incorporate into this project the components that were the focus of the Site Profile, Sound Guide and Soundwalk exercises that we have done. Consider what we have heard from NYSAE’s archive of soundscape recordings, Andrea McCartney’s Soundwalk presentation, and our various readings that intersect sound, field recording, mapping and spatial practice. Shafer’s WSP groundwork, among others, should be helpful in conceptualizing how to collect and organize auditory information. The form of Pulse of the Planet is very specific and consistent, so after listening to several episodes from the archive, you should have a good template. The topic of your project should reflect the aforementioned balance and interconnection between subject and ground (environment).

Any research materials such as sound samples, image documentation, maps, notes, writings, sketches –whatever you need to best articulate your work- should all be included with your final work.

crowd-sourced fieldwork

4 Oct