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QC Preflight Point1st 3 3 p126 Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA Scn : #150 Size : 200w230hmm Co : M3 C0 All To SpotCoagl 1st p126 1st p126 Interactivity

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Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA

Scn : #150 Size : 200(w)230(h)mm Co : M3 C0 (All To Spot)(Coagl)

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PERFORMANCE

‘THE STUDIO MUST BE LIKE A LIVING THING THE

MACHINE MUST BE LIVE AND INTELLIGENT THEN I PUT

MY MIND INTO THE MACHINE BY SENDING IT THROUGH

THE CONTROLS AND THE KNOBS OR INTO THE JACK

PANEL THE JACK PANEL IS THE BRAIN ITSELF, SO

YOU’VE GOT TO PATCH UP THE BRAIN AND MAKE THE

BRAIN A LIVING MAN, BUT THE BRAIN CAN TAKE WHAT

YOU’RE SENDING INTO IT AND LIVE.’

LEE ‘SCRATCH’ PERRY, ‘AUDIO CULTURE’

Dub is a a musical form originating in the reggae studies of the West Indies and pioneered by such artists as Lee ‘Scratch’

Perry and Augustus Pablo It is characterised by the ‘unmixing’ of a multitrack recording such that individual tracks are presented by themselves or in small groups rather than being conventionally mixed together These tracks are often subjected to processes such as repeat echo, spot reverberation, swept equalisation etc

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Interactivity and multimedia

So far, we have considered what we may

regard as relatively conventional forms

of performance: those where the artist is

literally or metaphorically ‘on stage’ and

delivers a performance to an audience.

Here the medium is simple and the

relationship with the audience is

traditional and unambiguous Other

forms of performance exist and,

unsurprisingly, sound artists are often

involved in these too.

A new and radical concept of performance

emerged in the 1950s and 1960s,

particularly in the USA This took the

form of events (‘happenings’),

predominantly staged not by performers in

theatres or concert halls, but by artists in

galleries Some of these blurred the

distinctions between established art forms

by introducing elements of performance.

Works such as Joseph Beuys’ I like

America and America likes me – in which

he spent several days in a room with a

wild coyote – introduced elements of

performance into other forms or at least

demanded that the visitor become more of

an audience member at a performance rather than a viewer at an exhibition.

Unsurprisingly, this re-definition of what might be embraced by the term

‘performance’ suits the practice of sonic art very well indeed A number of recent sound works have involved the interaction between artist and audience becoming more of an encounter or dialogue than the presentation that is the basis of most

‘conventional’ performance This results in the performance becoming, to some extent, interactive but this time at an interpersonal rather than human/machine level.

Sound as a performance medium can be remarkably un-engaging by itself There is often a perceived need for some form of visual accompaniment, as anyone who has attended concerts of serious

electroacoustic music will attest: the absence of visible performers seems to many to demand some alternative visual focus other than spinning tape reels or vibrating loudspeaker cones It is

therefore no surprise to discover that many sound performers incorporate a significant visual element in their work.

This may simply act as a background to the sound or may be an important part of the actual content of the piece.

Going further, the idea of Mlaptop and other forms of electronic performance can

be extended beyond sound alone With the advent of powerful computers and specialist hardware, the idea of genuinely audiovisual performance has become readily achievable Initially seen as an adjunct to the work of the DJ, we now see the emergence of the VJ as his/her visual equivalent, working in a similar fashion but with samples not of sound but of video and image, cutting, remixing and thereby recontextualising the original material Going further still, we can see in the work of groups such as the

international ensemble 242.pilots, an attempt to create improvised performances that combine both visual and sonic elements in a single integrated form.

REALISATION AND PRESENTATION

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Summary

Performance is a common activity in sonic

art, in a way and to an extent that is

relatively uncommon in most other art

forms Whether or to what extent this is a

reflection of its relationship to music is, of

course, open to discussion: some of the

artists in this book would cheerfully

describe themselves as musicians whereas

others would refute any such connection.

This raises the question of whether the

way in which performance is defined in

sonic art is necessarily quite the same as

it is in areas such as music or dance The

range of performance forms that we

encounter in sonic art is certainly

unusually wide and this is perhaps one of

its most attractive features, allowing it to

stimulate interest and find favour

amongst diverse audiences, from serious

concert-goers and gallery visitors to

club-goers.

PERFORMANCE

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‘ WE CAN NO LONGER MAKE A CLEAR-CUT DISTINCTION

BETWEEN THE VISUAL AND THE ACOUSTIC THE COMPUTER WILL GUIDE US TOWARDS AN ALL-ENCOMPASSING FORM OF PERCEPTION AND CREATION THAT CLEARLY REPRESENTS BOTH THE PRESENT AND FUTURE STATES OF HUMAN CREATIVITY.’

NICOLAS SCHOFFER, ‘DIGITAL & VIDEO ART’

Although by no means the only technology used by sound performers, the idea of using the laptop computer as either an instrument, a processor of sound generated elsewhere, a reproducer of previously recorded material, or in other performance roles, has become widely accepted Through the use of appropriate software, the laptop performance may take a range of forms, sometimes including video and image-based material as well as sound Considerable debate exists as to whether or not it is appropriate to regard the laptop as an instrument in the conventional sense and whether a performer who uses it necessarily does so in the same way as a musician might use a conventional instrument

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REALISATION AND PRESENTATION

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Nick Rothwell

Nick Rothwell’s work covers a wide

range of activities, from composition

and performance to sound design, but

he is perhaps most widely known for

his innovative software design and

programming work, which often

focuses upon various forms of

interaction between sound and video

and performers, especially dancers He

has created soundtracks for the

choreographers Aydin Teker and

Richard Siegal and performed with

Laurie Booth of Dance Umbrella at

the Different Skies Festival in Arizona

and the Institute of Contemporary

Arts and the Science Museum’s Dana

Centre (both in London) He has also

created performance systems for the

Ballet Frankfurt, Vienna Volksoper

and Braunarts and other projects have

included work at STEIM (Studio for

Electro-Instrumental Music) in

Amsterdam, the interdisciplinary art

centre CAMAC near Paris and ZKM

(Zentrum für Kunst und

Medientechnologie) at Karlsruhe,

Germany

Below: ’ Triptychos’

Rothwell was commissioned by Sonic Arts Network to create Triptychos as

part of the Cut and Splice Festival in May/June 2005 He describes

Triptychos as ‘a digital media triptych,

transforming the real-time images from a video camera into an abstract graphical music score, and interpreting the score to play an interactive, algorithmic soundtrack The panes of the triptych expose the analytical process from left to right: video capture (left), thresholding and downsampling (centre), and graphical score (right) The sound engine is a sophisticated sample manipulation instrument Instructions from the score recall different audio selections, tunings and key intervals, and individual instrument voices play samples forwards or backwards, often changing direction and speed within a single note.’

Image courtesy of Nick Rothwell.

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Student works

Patrick Furness

Right: ‘Are we nearly there yet?’

A large sheet of MDF is covered with

pre-recorded strips of magnetic tape

The visitor guides a radio-controlled

model car over this Underneath the

car is a tape recorder’s playback head,

which is connected to a radio

transmitter and thence to a receiver

and loudspeakers

Image courtesy of Tony Gibbs.

Jonathan Pigrem

Right, below: ‘Global Warning’

A series of electronic sensors detect

the concentration of various

atmospheric pollutants This

information is processed through a

microcontroller system and, according

to what is detected, solenoids are

triggered, which ‘play’ the suspended

chime bars below

Johnny Pavlatos

Far right: ‘Inprint’

‘The concept of the Inprint installation

was rooted in a direct inquiry to the

way technology affects identity

Through the processes of construction,

conceptualisation and exploration

within Inprint we aim to explore how

relationships with these specific

structures affect subjectivity More

specifically, through the process of

fingerprinting and gifting,Inprint aims

to expose how gender, acquisition,

storage, classification and manipulation of information affects

each of our identities in everyday

living.’ As part of the work, Pavlatos

invited visitors to have personal data

apparently recorded into a computer

system that would ‘create’ a personal

sonic identity on a CD, which could

then be taken away with them

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PERFORMANCE

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Tiêu đề	Performance
Trường học	Standard University
Chuyên ngành	Sonic Art & Sound Design
Thể loại	Bài luận
Năm xuất bản	2023
Thành phố	City Name

Định dạng
Số trang	5
Dung lượng	1,4 MB