Audiospace 2007 Submissions
This song may put you in a trance - Dieter Braun
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ONE TAKE TRICK - Gary Eugene and Marian van der Zon
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Definition of Communication - Michael Benneyworth
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Spicy by Airlock Machine
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you fall behind me - Susan Hawkins and Olivia Pisani
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Rue Blanche - Miulew Takahe
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POWERING UP - Marian van der Zon
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Untitled - Scott Bertram
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Blue Arcana - Joe Frawley
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40°45' North , 73°59' West - Aleksei R. Stevens
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It is a hot summer day - Mario Milat
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Dishwasher safe - Émilie Payeur
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abriendocaminos - Sergio Schmilovich
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Machine Language - Randy Adams
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Language - Josh Goldman
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and here's some more music - Jeff Morton
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Oh Boy (audiospace edit feat. Jobi Mihajlovich) - Adam Koebel
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Chantal Dumas Artist Statement and Bio
THE CORK - Chantal Dumas
"I was playing with different sounds and looking at for a correspondence with these three words : spicy, narrow, elegant. At a point, I thought at the sound produces when one opens a bottle of wine, when the corkscrew pierces the cork and penetrates it. That was the ‘’narrow’’ sound I was looking for, containing in itself the promise of a spicy character and of elegance. I did some recordings. I had something. That was the starting point."
-Chantal Dumas (Montreal, Québec)
Chantal Dumas Bio
Sound and radio artist Chantal Dumas uses sound to chart a new approach to listening and perception. Combining music, narrative, and real-world sounds, she constructs stories that encourage listeners to establish their own sense of narrative. Her work invites listeners on a ramble through various spaces: mental and physical, architectural and urban, natural and cultural.
Her music and radio works are widely broadcast on radios and festivals in Europe, Canada, the United States and Australia. In 2005, her work Tanz was nominated at the Phonurgia Nova (France), and in 2001 The little man in the ear took the 1st prize in the documentary section and The Perfume of Women was awarded at the EAR'97 competition (Hungary).
Dumas has lately been exploring new types of sound interfaces. Her latest works are CLUSTER for mobile listeners-interpreters and PDA (personal digital assistant), realized at the Banff Centre for the Arts and in a sound installation and performance at the radio REVOLTEN Festival (Halle, Germany). She is currently working on a project for the Montreal subway with the artist Rose-Marie Goulet and on an interactive work questioning mobility in relation with body movement, listeners and sound.
The work of Chantal Dumasa can be found on CD at 326 (France), AVATAR/Ohm Éditions (Quebec), and PoGUS & Nonsequitur (USA).
Some links :
Riding along with Luc Ferrari: http://www.kunstradio.at/2006A/28_05_06.html
roadmovie: http://www.transradio.org/fdle/index_noflash.php --> espace d'écoute --> roadmovie
Le Parfum des Femmes: http://www.transradio.org/fdle/index_noflash.php --> espace d'écoute --> Le Parfum des Femmes
around road movie: http://www.yorku.ca/dws/arrm/arrm.html
machine language - Randy Adams
Bio
Randy Adams is a Canadian media artist, with a background in creative writing, journalism and visual arts. For the past few years he has extended his practice into the digital arts, fashioning hypermedia and animations for the web and live performance. His photography and mixed media work has been exhibited and collected by public galleries, museums, and archives. Over the past 20 years, he has been awarded several grants for both writing and photography. Author of the non-fiction book Eternal Prairie: Exploring Rural Cemeteries of the West, he has also published poetry, essays and photography in several Canadian magazines. From 2002 through 2006 he served as Associate Editor for the trAce Online Writing Centre, based at the Nottingham Trent University in England, commissioning and editing reviews of digital writing and new media.
Audiospace 2007
Extended through November 2007
Audiospace 2007 features the work of Chantal Dumas, who was commissioned by Open Space New Music to write the Audiospace 2007 Call for Submissions and to create a sound piece for the Audiospace web gallery.
Click here to read the Call for Submissions by Chantal Dumas
The Call for Submissions was sent electronically to audio, media and art lists and was active from April to June 15, 2007. 17 submissions were received and include an eclectic array of electronic, recorded acoustic and mixed works from solo artists, duos and ensembles, one of which is performed by an Avatar Orchestra by way of the Second Life virtual reality site.
The Audiospace 2007 gallery below is open for pubic listening, viewing and input through November, 2007. Visitors to the site are invited and encouraged to make comments through the Comment function embedded in each artist's submission page, and to vote on 5 questions asked about the submissions by visiting the Interact section below. Visitor input will determine the financial remuneration available to the artists who have submitted works.
April – June 15, 2007
Call for Submissions distributed electronically
June 29 – November 19, 2007
Interact: Audiospace 2007 Gallery open for public listening, commentary and voting
September 15
Audiospace Virtual Live Online performance by Avatar Orchestra Metaverse on the virtual reality site Second Life featuring the Audiospace work Rue Blanche by the avatar Miulew Takahe and a broadcast party showcasing Chantal Dumas' work The Cork. At Open Space and on Second Life at Odyssey
Audiospace 2007 Call for Submissions - Chantal Dumas
Where does it all begin?
For it matters not how small the beginning may seem to be
- Henry David Thoreau, On the Duty of Civil Disobedience
The question of how a work of art comes into being is a fascinating one. At one time or another, we have all had the experience of being struck by a piece of art. We ask ourselves: were did that idea come from? In general, we all agree about the elusive nature of the creative process, and confronted with our inability to define how it works, we choose to talk of mystery.
The creative process allows the passage from the unconscious to the conscious and to the visible. I am interested in understanding where it all begins -- the internal movement, and its materialization:
What is the starting point of the creative act? What is it that generates an emotion, a turbulence so strong that it provokes the need within us to create something? At what moment does a piece of art start to be "written"? What path does it follow? What is it that allows it to pass from inside to outside? What is it that leads to its materialization via sound, paper, color, or movement?
These questions are at the core of sound art. I am inviting you to reflect on them by creating a short sound piece of your own.
Here is a starting point from which I suggest you work. The rest is up to you.
ATMOSPHERE: spicy
STYLE: confined
COLOR: elegant.
Duration: 7 minutes maximum
Dynamics: as necessary
Please attach to your submission a short text answering these two questions:
When did you feel that the work was starting to be "written"?
How did that first become evident to you?
- Chantal Dumas, April 2007
Return to Audiospace 2007
Oh Boy (audiospace edit feat. Jobi Mihajlovich) - Adam Koebel
Oh Boy is a found sound and keyboard collaboration with pianist-vocalist Jobi Mihajlovich. It is composed primarily of sounds collected over the summer of 2006 contrasted against the collaborators melodies. The piece has been reworked for submission to Audiospace.
The work began being "written" in its current form in the span of an hour one night seemingly at random. The moment of eureka is the ultimate truth of the conception of this piece. The elements were there previously, but scattered. The assembly came on like a storm. The water spilled from the bathtub, so to speak, and a handful of fragments became a single, solid thing. Expressing the heart of the piece was a matter of the proper reconfiguration.The nature of the work is that it could have existed as a handful of meaningless particles. Materialization of the piece isn't in its assembly from nothing but its synthesis from those disparate particles.
and here's some more music - Jeff Morton
The first moment I recall of writing and here’s some more music was the moment, one year ago, when I found a discarded and “antique” toy music box record player at a second hand shop in the small community of Weyburn, Saskatchewan. I understood the potential for modifying this toy and its potential as a near-aleatoric melody generator.
-nuthre
and here’s some more music (June 2007)
Performed and recorded by Jeff Morton (aka nuthre) with:
Fisher Price toy record player music box, Fisher Price portable record player, Casio Jim Henson Model sampling keyboard, laptop and microphone (filtering, software by Jeff Morton) contact mics, prepared records, and tuning fork.
Language - Josh Goldman
Language is a stereophonic sound structure (duration: 6 minutes, 27 seconds) composed for seven vocalists (none of whom are using their vocal cords). During playback (in complete darkness), the work should be played as loud as possible, without causing damage to any speaker equipment, or anyone's ears.
abriendocaminos - Sergio Schmilovich
Dishwasher safe - Émilie Payeur
Dishwasher safe was constructed from sounds made by a glass marble rolling inside several different dishes and pots, the composer’s voice an an electric guitar. By manipulating the original dishes sounds using electric guitar effect pedals, it results in a small noisy dishwasher in action. We can easily imagine a strange singing housewife waiting for the dishes to be cleaned.
It is a hot summer day - Mario Milat
It is a hot summer day - a reflection.
Mario Milat: Starting with minimalistic, raw audio bits and experimenting with various processes and approaches I try to emulate classical compositional techniques resulting in a non-written yet definable audio "composition".
When did you feel that the work was starting to be "written"?
How did that first become evident to you?
"written"? Meaning, at which point I became aware I am getting "creative"?
Or: when do I feel it's worth to save my "work"? How about: when do I feel
the "juxtaposing" of intended and expected has finalized?
For me it all starts and ends with a mouse click.
40°45' North , 73°59' West - Aleksei R. Stevens
This is the opening movement of my new work, 40°45' North , 73°59' West. The work is based on original recordings of harbor sounds captured at different sites around New York City. In this movement, we hear the sounds of the East River gently lapping on stones underneath the Manhattan Bridge (on the Brooklyn side of the river). In addition to the water, we hear, at different points, a helicopter, a train, and other sounds of the city. I was struck while making this recording by the way the natural sounds and city sounds interact, vying with one another for prominence in the sonic spectrum. I underlined this juxtaposition by passing the rumbling city sounds through an array of high-resonance band-pass filters, thus creating a constant but ever-undulating harmonic drone which complements the contours of the lapping water. The result is a sonic texture which is at once natural and artificial, perhaps a mirror to city life.
Blue Arcana - Joe Frawley
I generally play with raw materials for a long time before a piece really begins to be made. Play is the key word here because I need my work to come from an attitude of play in order for it to happen at all. I have learned from experience that when I tell myself "I am working now", or "I am beginning a piece" the self-expectancy I feel is so inhibiting that nothing comes. However, if I sit down to play, rather than to work, then I can finally lose myself, and before I know it, a piece has begun - spontaneously, it seems. Blue Arcana, therefore, began may times over until I looked up and found it nearly finished. (The effort of finishing is altogether another story.)
Blue Arcana is an electronic audio collage of sounds, music and voices. It suggests a narrative, of which I am not the author, nor have I any more insight into than the most attentive listener. To me it evokes ideas and images revolving around memory, identity and romantic love. And there is quite possibly something supernatural going on.
This song may put you in a trance - Dieter Braun
A VERY UNIQUE SENSORY EXPERIMENT Pow wow drum, 2 rattles and binaural beats(3.5-4.5 hz freq. of sound layered within the mix). Sit in a candle-lit room wear headphones...you may see changes in your vision...the doorway to dimensions?
Untitled - Scott Bertram
The process that my audio pieces usually take is in steps. I start creating sounds with my guitar and once I find a sound that stimulates me, I record it. After I have collected many sounds, I start collaging them together. I find that through the composition process, my work seems to take the form of a movie without any visuals. There seems to be both the sounds of a musical score to enhance mood, some sort of abstract dialogue taking place, as well as the sounds that define a place (interior or exterior) even though all the sounds are created using the same instrument. I feel that this work began to be written once I stumbled upon a guitar sound referencing the sound of a violin. This became the framework (or at least the stating point) that I knew I wanted this piece based around. Other than that initial spark of a violin sound, I let intuition and process guide the rest of the way, and once the piece is complete, there are always parts that I didn't initially forsee.
POWERING UP - Marian van der Zon
This is one of four audio pieces created around the theme of power. The origins of this piece come from thinking about hegemonic power and provide the listener the opportunity to eavesdrop in on ideas around power, who holds it, and in what ways. Sounds are derived from public figures and well-known symbols/sounds of power, in the author’s experience and opinion. All and everything is manipulated, twisted, and convoluted… highlighting the power that lies in the hands of the producer.
Rue Blanche - Miulew Takahe
This piece is written for Avatar Orchestra Metaverse (AOM) during march and april 2007 by Miulew Takahe. Rue Blanche is to be performed in Second Life with seven or more avatar players and one conductor. Preferred instrument to play the piece with is the instruments of Bingo Onomatopoeia, called sineHUDs. The piece is exploring the natural sinus tone series and the relations to beating frequencies and risset tones. Additional selected "found sounds" are to be played with the sound textures that the sinus tones generates.
you fall behind me - Susan Hawkins and Olivia Pisani
"you fall behind me" is an electroacoustic work that looks at the ideas of the noise/music relationship, exploring instrumentation, texture, orchestration and application of narrative in sound works.
Spicy - Airlock Machine
An interpretation of the creative brief using an international cast of female and male voices.
I felt the piece started to be "written" when I first laid voice on music -- it "clicked".
SitePal + Audio HiJack + Analog + GarageBand. My first sound art. Enjoy.
Definition of Communication - Michael Benneyworth
This sound piece is in three sections totaling six minutes and twenty-one second, including silence breaks between the sections. Part One is manipulated human voice speaking a found definition of communication, which was then edited to emulate the call of birds. The background track of this part, which becomes the foreground after the birdcalls end, is also the same text manipulated in another way. Part Two is based on text in the form of video imagery of a computer keyboard that has been read by software designed as an experimental system to aid blind people. By manipulating what the camera sees a series of sounds were created based on the progression of the alphabet. There is a sweep from left to right, which is the way the software creates a “picture” when used as designed, and this results in the listener perceiving the sound as moving in a circle. Part Three also uses video input based on a random texture that has resulted in sounds reminiscent of computer sound effects of 1960s science fiction. This is the first sound piece that I have structured in parts and the work was arranged to follow the progression of human communication: speech, text and digital data.
ONE TAKE TRICK - Gary Eugene and Marian van der Zon
This is the first sound art collaboration between Gary Eugene and Marian van der Zon. It began with a whistle and sounds were subsequently added, taking turns, and only using one take to keep the creative process active and spontaneous. The work began to be written within the realm of musical experience, but
with a desire to extend beyond any musical confines or expectations. Remember the exercise of shared storytelling? It began with this as a motivation and continues, endlessly looped. Sounds include: bongo drums, voice in many manifestations, bass guitar, banjo, and manipulations.
Length: 1:59minutes
Audiospace 2007 Interact
| Audiospace 2007 | Submissions | Interac |
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Click on the questions below to vote on Audiospace 2007 Submissions. The first four Questions are taken from the parameters suggested in Chantal Dumas' Call for Submissions. The vote function will be open until November 19, 2007, and allows one vote per computer. The votes, as well as the comments for each submission, will determine the financial remuneration awarded to selected artists. Comments on any aspect of Audiospace are invited. Voting and commenting is open to anyone.
VOTE:
Which work has the 'spiciest' ATMOSPHERE?
Which work has the most 'confined' STYLE?
Which work has the most 'elegant' COLOUR?
Which work contains the most striking idea of "the beginning"?
Which work do you find the most compelling?