Commissioned composer: Kenneth Newby
Sounding Cultural Difference
For the 2005 edition of Audiospace, Vancouver composer Kenneth Newby developed a theme that invited artists to reflect on the cultural information transmitted within sonic material and to make works that might explore cultural difference through sound.
Kenneth Newby’s commissioned work for the project, a musical perpetuum mobile, is an ever-evolving streaming piece that uses coding to enable the control of sonic processes through a web browser. The piece has continued streaming since its creation in 2004 and consequently illuminates new combinations of its rich collection of sound worlds with each visit. (Kenneth Newby’s Audiospace 2005 theme and texts are available via the link to his audio work below.)
Audiospace 2005 used a simple poll that gave visitors to the site unfettered freedom to determine the winning pieces selected to receive honoraria.
The Cultural Voice by Marian van der Zon
Metabolae (part 1) by Rebecca Cittadini and James Reynolds
hey motherfuckers! by David Poolman
Sounding Cultural Difference — a musical perpetuum mobile
Audiospace 2005 Submissions:
Dave Poolman 01:57
For two years I collected over 3000 live, bootlegged songs from the Internet. From these songs I separated and deleted all the music from the tracks, leaving only the asides, the introductions, and the words spoken by musicians to their audiences.
Ian Jarvis 02:34
Jean Routhier 04:25
The source material came from a Shakuhachi flute recording by Alcvin Ramos as well as vocal improvisations by singer and harpist Wendy Humphreys.
Katherine Norman 05:02
One of a group of "Five-minute wonders," Anything from the minibar? is made from a recording I made on checking out of a hotel, after a not-so-great-customer-experience. But, being British, I hated to complain. The hotel receptionist had a particularly interesting and lyrical North of England accent, and this little piece finds the inflections and melodies behind her customer-service-speak phrases.
Luis Barrie 02:44
"Sequence recorded in Huapi, Mapuche community located on the southern Chile, the land called La Araucanía. The audio representation shows a family moment on the Budi's lake shore where male dominant relationship is questioned. During the fieldwork was observed male dominant relationships as adopted just by the new generation, while among traditional couples an equal social participation between genders is kept. This sequences is a recreation of a distended evening, a woman entertains a child while the firewood for the kitchen is being prepared by the man. The chant acts as entertainment and tells a story about the fox (ngürü) and the hare (mara). If it were necessary the transcription and translation of the chant is available."
As with any composition, the first task in Risk was to limit the endless possibilities to material and forms that were both workable and would produce something aesthetically interesting to the listener."The original concept was for the members of the group to select one short audio sample and for each member to then work with it privately, manipulate it, transform it, create and then share these ideas and improvise upon the resultant material." In order for the piece to be coherent, a single lengthy sample was chosen for the group to work with. Each member was instructed to create material from inspiring sections of the sample, while insuring that the whole duration was represented in their final sound palette. The improvisation's form is guided by the manipulations appearing in the same sequence as in the original sample. The composition becomes the transformation of sound into the extended sonic possibilities of the computer. Free improvisation using these parameters results in the piece you hear: a powerful sonic experience, a definitive statement of the power of computer music.
Marian van der Zon 04:06
This piece is an examination of cultural voice. Using primarily voice, even for the musical components, this piece winds its way through aspects of culture that are represented and affected by voice. Issues around ethnicity, accent, profession, class, age, illness, gender, and sexually, are touched upon in an abstract fashion.
Rebecca Cittadini 02:06
In conjunction with a series of experimental audio workshops at Paved Art + New Media, James and I wrote a computer program which allowed raw data of digital images to be transcribed into raw digital sounds. The images were downloaded off a search engine on the internet by typing the word "chaos". We were asking the question: what would these images sound like? How could would we retain the integrity of the image by producing these sounds? We ran the image data through the program varying the sample rate each time it was processed. The algorithm produced a series of sounds and rhythms from the image data which was then recorded and sequenced to produce a "soundtrack" for the image. The process was of recycling an anonymous digital image and chewing it up to compose a cacophony of sounds that formed an abstract musical resonance. The math used for the program, was based on composer Iannis Xenakis' Formalized Music: Thought and Mathematics in Music (Revised Edition, 1992: Pendragon Press NY). By transcribing the senseless image data into digital notes via a form of metabolic design, this piece becomes a sound experience of "one over ƒ noise".
Wolfgang Menzel 02:57
Experimenting for a while with long strings of different shapes I combine in this piece the sampled string sound with keyboard stuff, which originally was a "water"-theme. The string recording itself is done by contact microphones directly connected to the vibrating strings ( up to 15 meters)