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New Feature: Auto-Generate Captions in Premiere Pro!

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New Feature: Auto-Generate Captions in Premiere Pro!

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VOICE-OVER SETTINGS IN ADOBE PREMIERE PRO

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VOICE-OVER SETTINGS IN ADOBE PREMIERE PRO

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VOICE-OVER SETTINGS IN ADOBE PREMIERE PRO

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VOICE-OVER SETTINGS IN ADOBE PREMIERE PRO

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Adobe Premiere Pro Voice Over Tutorial - Plugins To Use - Fastest Way to Record

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Adobe Premiere Pro Voice Over Tutorial - Plugins To Use - Fastest Way to Record

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Adobe Premiere Pro CC Tutorial: How to Record an audio Voice-over to the timeline

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Adobe Premiere Pro CC Tutorial: How to Record an audio Voice-over to the timeline

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Adobe Premiere Pro 2021 Tutorial | How to Dramatically Improve Voice-over/Podcast Audio

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Adobe Premiere Pro 2021 Tutorial | How to Dramatically Improve Voice-over/Podcast Audio

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Music as the pinnacle of abstraction.

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What's the Sound of Colour? Kandinsky and Music

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Liliane Lijn – 'I Want People to See Sound' | Artist Interview | TateShots

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Sound art is an artistic discipline in which sound is utilised as a primary medium. Like many genres of contemporary art, sound art may be interdisciplinary in nature, or be used in hybrid forms.

In Western art, early examples include Luigi Russolo's Intonarumori or noise intoners (1913), and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings. Because of the diversity of sound art, there is often debate about whether sound art falls within the domains of visual art or experimental music, or both. Other artistic lineages from which sound art emerges are conceptual art, minimalism, site-specific art, sound poetry, electro-acoustic music, spoken word, avant-garde poetry, sound scenography, and experimental theatre.

According to Dunaway's paper on the history of Sound Art, the term "began to be used loosely in the avant-garde scene in the 1970s." It "was used interchangeably with other terms such as sonic art, audio art, sound poetry, sound sculpture, and experimental music (to name a few)." One of the first published uses of the term was in Something Else Press in their 1974 Yearbook.

The first use "as the title of an exhibition at a major museum was 1979's Sound Art at the Museum of Modern Art in New York (MoMA)," featuring Maggie Payne, Connie Beckley, and Julia Heyward. The curator, Barbara London defined the term thusly, "'Sound art' pieces are more closely allied to art than to music, and are usually presented in the museum, gallery, or alternative space."

Later, in 1983, the art historian Don Goddard would expand on this, writing about an exhibition called "Sound/Art" at The Sculpture Center in New York City in 1983 "It may be that sound art adheres to curator Hellermann's perception that 'hearing is another form of seeing,' that sound has meaning only when its connection with an image is understood... The conjunction of sound and image insists on the engagement of the viewer, forcing participation in real space and concrete, responsive thought rather than illusionary space and thought."

Originally from Amsterdam, but moved to Berlin is Staalplaat, a record label focused on sound art and experimental music.

Transmediale is a yearly festival focused on media art, covering many sound art performances and installations.

Since the early 1950s Japanese artists involved in the Fluxus and Gutai movement have played a role in the development of Sound Art, including the 1955 work 'Work Bell' by Atsuko Tanaka, which at the time was described as 'living sound' and 'painting with sound'. Tanaka's most famous work 'Electric Dress', consisting of around 200 painted incandescent lights worn as a dress emitted a sonic element, namely the buzzing of the bulbs and the sound of the bulbs connecting with each other each time a small electric shock was felt by the wearer.

Kenneth Goldsmith, Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York

Hellerman, William, and Don Goddard. 1983. Catalogue for "Sound/Art" at The Sculpture Center, New York City, May 1-30, 1983 and BACA/DCC Gallery June 1-30, 1983.

Kahn, Douglas. 2001. Noise, Water, Meat: A History of Sound in the Arts. Cambridge: MIT Press. ISBN 0-262-61172-4.

Licht, Alan. 2007. Sound Art: Beyond Music, Between Categories (with accompanying compact disc recording). New York: Rizzoli International Publications. ISBN 0-8478-2969-3.

Attali, Jacques. 1985. Noise: The Political Economy of Music, translated by Brian Massumi, foreword by Fredric Jameson, afterword by Susan McClary. Minneapolis: University of Minnesota Press. ISBN 0-8166-1286-2 (cloth) ISBN 0-8166-1287-0 (pbk.)

Cage, John. 1961. "Silence: Lectures and Writings". Middletown, CT: Wesleyan University Press. (Paperback reprint edition 1973, ISBN 0-8195-6028-6)

Cox, Christoph. 2003. "Return to Form: Christoph Cox on Neo-modernist Sound Art-Sound-Column." Artforum (November): [pages].

Cox, Christoph. 2009. "Sound Art and the Sonic Unconscious". Organised Sound 14, no. 1:19-26.

Cox, Christoph. 2011. "Beyond Representation and Signification: Toward a Sonic Materialism". Journal of Visual Culture 10, no. 2:145-161.

Hegarty, Paul. 2007. Noise Music: A History. New York: Continuum International Publishing Group. ISBN 978-0-8264-1726-8 (hardcover) ISBN 978-0-8264-1727-5 (pbk)

Jensenius, Alexander Refsum; Lyons, Michael, eds. (2017). A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. Springer. ISBN 978-3-319-47214-0.

LaBelle, Brandon. 2006. Background Noise: Perspectives on Sound Art. New York and London: The Continuum International Publishing Group. ISBN 0-8264-1844-9 (cloth) ISBN 0-8264-1845-7 (pbk)

Lander, Dan, and Micah Lexier (eds.). 1990. Sound by Artists. Toronto: Art Metropole/Walter Phillips Gallery.

Lucier, Alvin, and Douglas Simon. 1980. Chambers. Middletown, Connecticut: Wesleyan University Press. ISBN 0-8195-5042-6.

Nechvatal, Joseph. 2000. "Towards a Sound Ecstatic Electronica". .

Oliveros, Pauline. 1984. Software for People. Baltimore: Smith Publications. ISBN 0-914162-59-4 (cloth) ISBN 0-914162-60-8 (pbk)

Paik, Nam June. 1963. "Post Music Manifesto," Videa N Videology. Syracuse, New York: Everson Museum of Art.

Peer, René van. 1993. Interviews with Sound Artists. Eindhoven: Het Apollohuis.

Rogers, Holly. 2013. Sounding the Gallery: Video and the Rise of Art-Music. Oxford: Oxford University Press.

Schaefer, Janek, Bryan Biggs, Christoph Cox, and Sara-Jayne Parsons. 2012. "Janek Schaefer: Sound Art: A Retrospective". Liverpool: The Bluecoat. ISBN 978-0-9538896-8-6.

Skene, Cameron. 2007. "Sonic Boom". The Montreal Gazette (13 January).

Toop, David. 2004. Haunted Weather: Music, Silence, and Memory. London: Serpent's Tail. ISBN 1-85242-812-0 (cloth), ISBN 1-85242-789-2 (pbk.)

Valbonesi, Ilari. A.A.A.A.A.A.A. Cercasi Sound Art. ARTE E CRITICA, ISSUE 64, (2010)

Wilson, Dan. 2011. "Sonics in the Wildernesses - A Justification." The Brooklyn Rail (April)

Wishart, Trevor. 1996. On Sonic Art, new and revised edition, edited by Simon Emmerson (with accompanying compact disc recording). Contemporary Music Studies 12. Amsterdam: Harwood Academic Publishers. ISBN 3-7186-5846-1 (cloth) ISBN 3-7186-5847-X (pbk.) ISBN 3-7186-5848-8 (CD recording)

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Sound art is an artistic discipline in which sound is utilised as a primary medium. Like many genres of contemporary art, sound art may be interdisciplinary in nature, or be used in hybrid forms. In Western art, early examples include Luigi Russolo's Intonarumori or noise intoners (1913), and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings.

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Digital Composite, Composite Sound. 1:00 Loop.
Software: NukeX, Photoshop, Reason, Premiere.

A surreal portal into the psychological state experienced during infinite regress such as in discourse on the origin of the universe (i.e. the ontological, cosmological, and design proofs for the existence of God). To reflect the neutrality yielded, visual perception is distorted as the figures literally fall straight down but appear to be falling into the z-depth or spiraling downward (illusion created with animated fractal) or both. Aural understanding is halted by a processed/texturized Shepard tone (series of sine wave octaves creating the illusion of tones descending infinitely yet remaining constant). All physically impossible conditions that are perceived to be happening all at once and shifting back and forth, creating an overall infinite stasis in perception.

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Digital Composite, Composite Sound.  1:00 Loop. 
Software: NukeX, Photoshop, Reason, Premiere. 

A surreal portal into the psychological state experienced during infinite regress such as in discourse on the origin of the universe (i.e. the ontological, cosmological, and design proofs for the existence of God). To reflect the neutrality yielded, visual perception is distorted as the figures literally fall straight down but appear to be falling into the z-depth or spiraling downward (illusion created with animated fractal) or both. Aural understanding is halted by a processed/texturized Shepard tone (series of sine wave octaves creating the illusion of tones descending infinitely yet remaining constant). All physically impossible conditions that are perceived to be happening all at once and shifting back and forth, creating an overall infinite stasis in perception.

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Small documentation excerpts from my audiovisual installation piece shown in London Nov 2012.

Is there such a thing as Sound Art? And if so, what is it?

There seems to be no absolute consensus as to what might constitute Sound Art, the only generally recognised criteria being, perhaps, the presence of some sonic element (whether audible or inaudible, material or conceptual) and artistic intention. But deciding the point at which the sonic and the intention begin or end seems to be up to each individual person – ultimately there are as many definitions of the category as there are people questioned.

Sound Art? Is an investigation of the blurriness of artistic categories, an attempt to obliquely arrive at a definition and perhaps show the usefulness, or otherwise, of such a definition.

The work’s aim is to throw up questions and provide start-points for debate, more than provide answers.

Many thanks go to the wonderful individuals who kindly took part in the interviews which made up the material of these piece:

Alan Licht
Alexander Williams
Anna Raimondo
Clive Graham
David Toop
Giorgio Sadotti
Iris Garrelfs
Mark Jackson
Matthew Lee Knowles
Mike Harding
Pauline Oliveros

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Small documentation excerpts from my audiovisual installation piece shown in London Nov 2012.


Is there such a thing as Sound Art? And if so, what is it? 

There seems to be no absolute consensus as to what might constitute Sound Art, the only generally recognised criteria being, perhaps, the presence of some sonic element (whether audible or inaudible, material or conceptual) and artistic intention. But deciding the point at which the sonic and the intention begin or end seems to be up to each individual person – ultimately there are as many definitions of the category as there are people questioned.

Sound Art? Is an investigation of the blurriness of artistic categories, an attempt to obliquely arrive at a definition and perhaps show the usefulness, or otherwise, of such a definition. 

The work’s aim is to throw up questions and provide start-points for debate, more than provide answers.

Many thanks go to the wonderful individuals who kindly took part in the interviews which made up the material of these piece:

Alan Licht
Alexander Williams
Anna Raimondo
Clive Graham
David Toop
Giorgio Sadotti
Iris Garrelfs
Mark Jackson
Matthew Lee Knowles
Mike Harding
Pauline Oliveros

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Art of sound is a mechanism of self-expression developed to visualize sound. The system allows any individual
to evoke their own work of art, by simply attaching
their laptop/phone to the machine and play their chosen audio track.

Sound plays a major part in the environment, which brings forward the question of where sound stands in terms of communication. Artists and designers have used sound as an inspiration for years. Even on a general bases we communicate best through talking and loud gestures like clapping in order to show appreciation. This project not only facilitates the deaf to see music but also allows an ordinary person to create their own art piece based on their favourite music / audio book ect.

In most cases the design is dictating the sound. For example an orchestra is set up such to play a certain set of instruments in order to create a melody. In this case the sound dictates the design and reveals unexpected forms.

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Art of sound is a mechanism of self-expression developed to visualize sound. The system allows any individual 
to evoke their own work of art, by simply attaching 
their laptop/phone to the machine and play their chosen audio track.

Sound plays a major part in the environment, which brings forward the question of where sound stands in terms of communication. Artists and designers have used sound as an inspiration for years. Even on a general bases we communicate best through talking and loud gestures like clapping in order to show appreciation. This project not only facilitates the deaf to see music but also allows an ordinary person to create their own art piece based on their favourite music / audio book ect.

In most cases the design is dictating the sound. For example an orchestra is set up such to play a certain set of instruments in order to create a melody. In this case the sound dictates the design and reveals unexpected forms.

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Sequential vs Random vs composed
Elements of distortion and makings
Juxtapositions
Image and sound combinations

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November Music 2018 Sound Art Exhibition

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November Music 2018 Sound Art Exhibition

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more info:
instrumentinventors.org/event/sound-art-exhibition-at-kruithuis-for-november-music-2018/

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November Music 2018 Sound Art Exhibition

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SOUND of LIGHT is a site specific installation designed for the Festival Urban Lights Ruhr 2014.
SOUND of LIGHT is a joint project of Plastique Fantastique and Marco Barotti.

It is a synesthetic sculpture which interprets and dynamically transforms solar light into audio frequencies and focuses on a very specific area – the former music pavilion in Hamm, build in 1912. By mixing sound and architecture the audience experience a peculiar oneiric reality through the superimposition of colours, shapes, sounds and vibrations. A high-quality digital camera mounted on the top of the structure films the sky and divide it into six colour models - RGB and CMY. The resulting data is transformed into sound which reacts along with fluctuating atmospheric conditions, creating a unique and variable composition. A series of woofers, are fixed directly on the bottom of each inner column, and convert the whole architecture into a giant vibrating loudspeaker. Visitors can have additional complimentary visual experiences by changing their point of view from within the installation. A person can "filter" their surroundings with one single primary or secondary colour, but also mix different ones together. SOUND of LIGHT is a composition of hue, saturation, and light. People always have the possibility to discover their own concert which arises from their unique point of view – an individual spectrum.

# data[].attributes.attachment_link.description
SOUND of LIGHT is a site specific installation designed for the Festival Urban Lights Ruhr 2014.
SOUND of LIGHT is a joint project of Plastique Fantastique and Marco Barotti.

It is a synesthetic sculpture which interprets and dynamically transforms solar light into audio frequencies and focuses on a very specific area – the former music pavilion in Hamm, build in 1912. By mixing sound and architecture the audience experience a peculiar oneiric reality through the superimposition of colours, shapes, sounds and vibrations. A high-quality digital camera mounted on the top of the structure films the sky and divide it into six colour models - RGB and CMY. The resulting data is transformed into sound which reacts along with fluctuating atmospheric conditions, creating a unique and variable composition. A series of woofers, are fixed directly on the bottom of each inner column, and convert the whole architecture into a giant vibrating loudspeaker. Visitors can have additional complimentary visual experiences by changing their point of view from within the installation. A person can "filter" their surroundings with one single primary or secondary colour, but also mix different ones together. SOUND of LIGHT is a composition of hue, saturation, and light. People always have the possibility to discover their own concert which arises from their unique point of view – an individual spectrum.

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The Art of Sound - its the 3rd video from the series I've been working on since the beginning of this year. My goal is to capture short stories of these amazing talented artist from Tampa Bay, FL.

Original Soundtrack by FR33BACK

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The Art of Sound - its the 3rd video from the series I've been working on since the beginning of this year. My goal is to capture short stories of these amazing talented artist from Tampa Bay, FL. 

Original Soundtrack by FR33BACK
Video by Jonathan Garcia

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“For me, sound is a building material.” -Bernhard Leitner

Austrian-born artist, Bernhard Leitner, talks about his sound spaces with reSITE at RESONATE. Using the “vocabulary of sound,” Leitner discusses how he uses sound to define space and create completely new worlds.

RESONATE: Thinking Sound & Space was a conference on architecture, art and sound. It took place on 12 February 2018 at MAAT Museum, Lisbon, Portugal in collaboration with Meyer Sound. Video co-produced by reSITE & Canal 180

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Pioneering Sound Art | RESONATE - Talking Sound & Space

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“For me, sound is a building material.” -Bernhard Leitner

Austrian-born artist, Bernhard Leitner, talks about his sound spaces with reSITE at RESONATE. Using the “vocabulary of sound,” Leitner discusses how he uses sound to define space and create completely new worlds. 

RESONATE: Thinking Sound & Space was a conference on architecture, art and sound. It took place on 12 February 2018 at MAAT Museum, Lisbon, Portugal in collaboration with Meyer Sound. Video co-produced by reSITE & Canal 180

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A History of Sound Art John Roach collage

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A History of Sound Art John Roach collage

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Arranged and composed by J Milo Taylor
Mixed by Joel Cahen

An engaging sound collage presenting an unique historical documentation of Sound Art from the early 20th century to present day. The composition weaves through different sound works throughout the century with narratives and ideas from some of the prominent artists in the field. A retrospective into the craft of sound and its development as an artistic practice, from Edison’s first sound film in 1895 to today, including the thoughts and concepts which served the basis for the creation of these works as spoken by the artists themselves.

This is an animation (created by John Roach) of the printed timeline created by Cahen and Taylor that a listener can follow as he or she experiences the work. The printed booklet can be downloaded here:
joelcahen.files.wordpress.com/2011/08/ahosa-print.pdf

commissioned by Newtoy as part of the Wet Sounds 2011 UK Tour

Exhibited at:
On the Edge of Perceptibility / Sound Art – International Sound Installation Exhibition in Budapest, 17th Oct. – 23rd Nov. 2014

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Arranged and composed by J Milo Taylor
Mixed by Joel Cahen

An engaging sound collage presenting an unique historical documentation of Sound Art from the early 20th century to present day. The composition weaves through different sound works throughout the century with narratives and ideas from some of the prominent artists in the field. A retrospective into the craft of sound and its development as an artistic practice, from Edison’s first sound film in 1895 to today, including the thoughts and concepts which served the basis for the creation of these works as spoken by the artists themselves.

This is an animation (created by John Roach) of the printed timeline created by Cahen and Taylor that a listener can follow as he or she experiences the work. The printed booklet can be downloaded here:
https://joelcahen.files.wordpress.com/2011/08/ahosa-print.pdf

commissioned by Newtoy as part of the Wet Sounds 2011 UK Tour

Exhibited at:
On the Edge of Perceptibility / Sound Art – International Sound Installation Exhibition in Budapest, 17th Oct. – 23rd Nov. 2014
All Tomorrows Parties, Butlins, Minehead, UK | 14 – 15 May 11
Vivid Gallery, Birmingham | 22-27 March 11
The Whitechapel Art Gallery | The Reading Room | 1 – 6 March 11
Phoenix Brighton | 3 March 11
Modern Art Oxford | Accompanied by a talk | 12 Feb 11
The Star and Shadow, Newcastle | 6 Feb 11
Bangor Museum | 25 – 28 Jan 11

Artists appearing in the work:
Sleep Research Facility, Cathy  Lane, John Cage, Charlie Fox, Ros Bandt, Janet Cardiff, Brandon La Belle, Thomas Edison, Marcel Duschamp, Hugo Ball, Leon Theramin, FW Marinetti, Walter Ruttmann, Kurt Schwitters, Harry Partch, Antonin Artaud, Pierre Schaeffer and Pierre Henry, Iannis Xenakis, Louis and Bebe Barron, Pauline Oliveros, Morton Feldman, George Brecht, Richard Maxfield, Dick Higgins, Group Ongaku, Brion Gysin, Karlheinz Stockhausen, Tod Dockstader, La Monte Young, Luc Ferrari, Alvin Lucier, Bruce Nauman, Bernard Parmegiani, Francoise Bayle, R Murray Schafer, Trevor Wishart, hildegard Westerkamp, Terry Fox, David Dunn, Nam June Paik, Max Neuhaus, Throbbing Gristle, Barry Truax, Limpe Fuchs, John Oswald, Bill Fontana, Warren Burt, David Cunningham, Laurie Anderson, Gregory Whitehead, Lee Renaldo, Christian Marclay, William Burroughs, Denis Smalley, Dan Lander, Gilles Gobeil, Negativland, Trimpin, Jonty Harrison, Kim Cascone, Jodi Rose, Francisco Lopez, Bernard Leitner, Peter Vogel, Steve Roden, Pamela Z, Terre Thaemlitz, Chris Watson, David Toop, Disinformation, Atau tanaka, Dan Lander, Philip Jeck, Carsten Nicolai, Justin Bennett, David Toop, Project Dark, Steve Vitiello, Maryanne Amacher, Christina Kubisch, John Bischoff, Andres Bosshard, Iris Garrelfs, Peter Cusack, Steve Barsotti, Andrea Polli, James Webb, Nic Collins, DJ Spooky, Rainer Linz, Salome Vogeline, David Lee Myers, David Chesworth and Sonia Leiber, Karlheinz Essl, Dallas Simpson, FM3, Matthew Mullane, Ultra-Red, Tony Herrington, Dan Senn, John Wynne and Susan Philipsz.

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The nonvulgar journey of sonic art
I listen, I hear, I obey.

Does the exquisitely dissonant institution of sound art, and its subsequent ordering of desire, ensure that we subscribe to a genealogy through which it is governed? In this composition I hear a rhizomic collective, which obeys, albeit contradictorily, a government of past and future time. Historical mapping reconceptualized, audibly so.

I hear the pop, clunk, hum, clink, buzz of the sonic agent provocateurs scrambling to inscribe difference.

‘Tomtoumtomtoumtomtoum’; the ‘Cage’ of sound arts past. I hear hindsight.

‘Bwwaaaaaaaaaaaaaaaaaaaaaa’; the sound of sound arts future.

I hear possibility, dynamic, open, multiple, textured, outside ‘time, (is there outside time?). Referring to Heidegger, Derrida describes how, in the nonvulgar or ‘Greek’ conception of time, times past, present, and future converge and diverge; they are at once glancing, touching and yet so very distant. The nonvulgar appear and disappear in this composition’s motifs, they ascribe difference, blend and further differentiate how I listen. I hear the sound of the oncoming community, Nietzsche’s Übermenschare, nonvulgar, allegorical.

This sonic journey has no pause, the repeating beating ‘new order’ of fleeting voices propels concepts adnauseam. Everything that can happen is happening, and not only once, but infinitely. Turning and returning. It does not go along with a simple, linear, modernist scenario. But further problematizes sonic arts institutionalized patterns of irrationality.

Further along the plane I hear double meanings, a double-pincer of the future: one linear, one nonlinear.

It invokes individuation, movement, body, and sensation. Voicing announcements of the future of noise; whilst scattering uncanny silence, more a buzz than a beep of the future becoming. Is this a compositional transformative strategy, or my listening as relational and ultimately performative? I hear the sonic future that never arrives because it was already always here. It sounds nonlinear, atemporal or polymorphically temporal. It presents post-human possibilities as resonant and reverberant.

Ironically, this playful and metaphorical collage of sound arts genealogy is not only broader, but more literally plausible than what Heidegger calls the received or “vulgar” view of orderly, progressive, linear time. Language itself, the splintering of sounds into signs, into embodied and disembodied representations, signals and signifiers, call into question my subjective image of the past: a schizophrenic plane of signification, a neurotic creativity, the disunity of the singularity of becoming sonic.

Finally, I hear silence, an absent sense of knowing, of the heard, that I project into a future: pop merging with click, and dissolution into ecstasy, which relieves my constitutive sense of loss. Lacan suggests that this loss is based on the illusion of the uncoordinated. As a listener at the end of this work I feel like a wobbly toddler looking in the mirror and happily hallucinating in my own disunity. Once again language splintering signification. I am left with the idea of an uncomfortable wholeness. The reconciliation of sound arts past with its future seems like an empirical illusion.

Ennioa Neoptolomus

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The nonvulgar journey of sonic art
I listen, I hear, I obey.

Does the exquisitely dissonant institution of sound art, and its subsequent ordering of desire, ensure that we subscribe to a genealogy through which it is governed? In this composition I hear a rhizomic collective, which obeys, albeit contradictorily, a government of past and future time. Historical mapping reconceptualized, audibly so. 

I hear the pop, clunk, hum, clink, buzz of the sonic agent provocateurs scrambling to inscribe difference.

‘Tomtoumtomtoumtomtoum’; the ‘Cage’ of sound arts past. I hear hindsight.

‘Bwwaaaaaaaaaaaaaaaaaaaaaa’; the sound of sound arts future.

I hear possibility, dynamic, open, multiple, textured, outside ‘time, (is there outside time?). Referring to Heidegger, Derrida describes how, in the nonvulgar or ‘Greek’ conception of time, times past, present, and future converge and diverge; they are at once glancing, touching and yet so very distant. The nonvulgar appear and disappear in this composition’s motifs, they ascribe difference, blend and further differentiate how I listen. I hear the sound of the oncoming community, Nietzsche’s Übermenschare, nonvulgar, allegorical.

This sonic journey has no pause, the repeating beating ‘new order’ of fleeting voices propels concepts adnauseam. Everything that can happen is happening, and not only once, but infinitely. Turning and returning. It does not go along with a simple, linear, modernist scenario. But further problematizes sonic arts institutionalized patterns of irrationality.

Further along the plane I hear double meanings, a double-pincer of the future: one linear, one nonlinear.

It invokes individuation, movement, body, and sensation. Voicing announcements of the future of noise; whilst scattering uncanny silence, more a buzz than a beep of the future becoming. Is this a compositional transformative strategy, or my listening as relational and ultimately performative? I hear the sonic future that never arrives because it was already always here. It sounds nonlinear, atemporal or polymorphically temporal. It presents post-human possibilities as resonant and reverberant.

Ironically, this playful and metaphorical collage of sound arts genealogy is not only broader, but more literally plausible than what Heidegger calls the received or “vulgar” view of orderly, progressive, linear time. Language itself, the splintering of sounds into signs, into embodied and disembodied representations, signals and signifiers, call into question my subjective image of the past: a schizophrenic plane of signification, a neurotic creativity, the disunity of the singularity of becoming sonic.

Finally, I hear silence, an absent sense of knowing, of the heard, that I project into a future: pop merging with click, and dissolution into ecstasy, which relieves my constitutive sense of loss. Lacan suggests that this loss is based on the illusion of the uncoordinated. As a listener at the end of this work I feel like a wobbly toddler looking in the mirror and happily hallucinating in my own disunity. Once again language splintering signification. I am left with the idea of an uncomfortable wholeness. The reconciliation of sound arts past with its future seems like an empirical illusion.

Ennioa Neoptolomus

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Oswaldo Macià: Something Going On Above My Head. 1995-1999

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Oswaldo Macià: Something Going On Above My Head. 1995-1999

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Oswaldo Macià: Something Going On Above My Head. 1995-1999

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Four channel audio installation during "Cantos Cuentos Colombianos" the inaugural exhibition at Casa Daros in Rio de Janeiro. See the Special feature by Universes in Universe:
http://universes-in-universe.org/eng/specials/2013/casa_daros

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Oswaldo Macia 'Something Going On Above My Head'

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Oswaldo Macia 'Something Going On Above My Head'

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Something going on above my head is a symphony made up of 2000 birdsongs from international ornithological archives and audio libraries. Composed into a symphonic narrative, 500 birdsongs from each continent are played through 8 channels.

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Something going on above my head

DATE: 1999/2010
MEDIA: Sound,

Duration 30 minutes, Something going on above my head is a symphony made up of 2000 birdsongs from international ornithological archives and audio libraries.Composed into a symphonic narrative, 500 birdsongs from each continent are played through 8 channels.

Presented at
Fundacion Banco Santander Madrid,Spain 2010
Whitechapel Art Gallery, London 04|04|09.
Pallant House Gallery Chichester.01|05|09
Sound Festival de Lanaudiere Joliette Quebec,2008
51st Venice Biennial, 2005,
Daros Latino America, Zurich, 2005,
Haunch of Venison, London, 2004 ,
The Power Plant, Toronto, Canada, 2003,
Museo Reina Sofia, Madrid, Spain, 2003,
Afroamerica, Porte au Prince, Haiti, 2002,
Tirana Biennale, Albania, 2001,
Event Uppsala, Sweden, 2000,
Whitechapel Gallery London, 2000,
X-Teresa Mexico DF, Mexico, 1999

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Sound is materially invisible but very visceral and emotive. It can define a space at the same time as it triggers a memory -Susan Philipsz

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Sound art dates back to the early inventions of futurist Luigi Russolo who, between 1913 and 1930, built noise machines that replicated the clatter of the industrial age and the boom of warfare.

Dada and surrealist artists also experimented art that uses sound. Marcel Duchamp’s composition Erratum Musical featured three voices singing notes pulled from a hat, a seemingly arbitrary act that had an impact on the compositions of

John Cage, who in 1952 composed 4’33’’ a musical score of four minutes and thirty three seconds of silence. (Four minutes thirty three seconds is 273 seconds. The temperature minus 273 celsius is absolute zero).

By the 1950s and 1960s visual artists and composers like Bill Fontana were using kinetic sculptures and electronic media, overlapping live and pre-recorded sound, in order to explore the space around them.

Since the introduction of digital technology sound art has undergone a radical transformation. Artists can now create visual images in response to sounds, allow the audience to control the art through pressure pads, sensors and voice activation, and in examples like Jem Finer’s Longplayer, extend a sound so that it resonates for a thousand years.

Sound is materially invisible but very visceral and emotive. It can define a space at the same time as it triggers a memory -Susan Philipsz

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Tate glossary definition for sound art: Art about sound, using sound both as its medium and as its subject