SONIC RESIDUES :: Exhibition and Concert :: Stony Brook University, Stony Brook, NY :: Until May 12, 2008.

The Consortium for Digital Arts, Culture and Technology (cDACT) at Stony Brook University presents the Sonic Residues Festival, April 29th to May 12th, 2008, Stony Brook University.

The Sonic Residues Festival will develop subtle and complex spaces of auditory experience, organized loosely around the theme of the remainders left by vibrations in time and space. Continue reading

Stephen Vitiello creates sound installations that often feature pristine recordings of natural environments and phenomena – the Amazon rain forest or flapping moth wings for example– sonically magnified to expose their internal detail and beauty. His installation work also focuses heavily on the use and implications of space as a compositional parameter. Vitiello has released several CDs and his work has been performed at The Tate Modern, The Whitney Museum of American Art, and The Kitchen, NYC. His work was also featured in the 2006 Biennale of Sydney and the 2002 Whitney Biennial. He is currently Assistant Professor of Kinetic Imaging at Virginia Commonwealth University.

On September 21, 2007, Vitiello visited the University of Virginia. We sat and discussed his work for an hour in the university’s Jefferson Rotunda. The recording and transcript of that interview is presented below. Continue reading

Metal Door Tones - contact microphones on a metal door - with Patrick McGinley, Hitoshi Kojo, Fantomas (08:44) Continue reading

SOINU MAPA is an open collaborative project. Based on “phonography” or the art of recording environmental sounds, our aim is to show, share and exchange field recordings made in the Basque Country. Here, you will find more than 100 sound recordings, that tell us a little bit more about the different sound realities of the Basque country. If you also like to record sounds and want to share your work with us, just contact us and participate! In order to distribute them freely, all recordings are published under Creative Commons license.

SOINU MAPA started thanks to a collection of recordings made by Luz Maria Sanchez in 2001. During a residence at Arteleku, this mexican sound artist did dozens of field recordings on different geographical locations of the basque country, from south to north, east to west. Continue reading

Billboard (2005) - a sound work for iPod (37 minutes) by R. Luke Dubois: “Billboard allows you to get a birds-eye view of the Billboard Hot 100 by listening to all the #1 singles from 1958 through the millennium using a technique I’ve been working on for a couple of years called time-lapse phonography. The 857 songs used to make the piece are analyzed digitally and a spectral average is then derived from the entire song. Just as a long camera exposure will fuse motion into a single image, spectral averaging allows us to look at the average sonority of a piece of music, however long, giving a sort of average timbre of a piece. This gives us a sense of the average key and register of the song, as well as some clues about the production values present at the time the record was made; Continue reading

Framework has been on the air since June, 2002, featuring regular editions of new and old field recordings and field recording based composition, live on-air performances, and special editions such as framework:focus, which features the work of a single artist, project or theme in a continuous hour-long soundscape, and framework:afield, a series of programs curated and produced by guest artists from around the world. Each regular edition begins with an introduction recorded by a listener - you can find guidelines on submitting an introduction here. Via the links on this page, you can find a complete collection of their past playlists. You can now stream the latest edition or subscribe to their podcast.

Framework: Phonography / Field Recording; Contextual and Decontextualized Sound Activity presented by Patrick Mcginley - broadcasts on Sundays locally in London (UK) and worldwide online at resonance104.4fm from 9 - 10 pm GMT (time converter).

The latest issue of Liminalities is a special issue On Sound. Edited by Michael LeVan, this issue includes an audio epigraph, a monograph on Arthur Russell, a project about temporary radio memorials, an essay about Manu Chao, a recording-essay about Freud and secrets and sound, a video on an ethnographic performance about voice, a sound essay about a performance by an ex-radio reporter, an audio project about auto- (and oto-) phonography, an essay revisiting Rudolph Arnheim’s text on radio, a pedagogy essay (and audio recording) about performing aural appeals, and reviews of two books on sound. Continue reading

Gulliver by Wang Changcun and Melanie Velarde :: Until November 3, 2007 :: Free Artist Talk: November 1, 12.30 - 1.30 pm :: West Space, 1st Floor, 15-19 Anthony Street, Melbourne Vic 3000, Australia.

Wang Changcun and Melanie Velarde first met while performing together in Shanghai, China in 2006. Both are interested in electro-acoustical compositions that take their origins in phonography. In opposing different field recordings they aim to create abstract soundscapes and to generate artificial sonic landscapes within a new environment. In Gulliver, they probe and confront each other with their individual compositions based on field recordings ranging from the mountains in North China to Germany’s suburban wastelands. Continue reading

The Ghost Station :: Kristen Roos :: September 29, 2007 :: Lower Bay TTC Station: Installation entrance at Cumberland St.

Lower Bay Station, Toronto’s ghost station, is used as a vessel to contain sounds that are within and below the threshold of human hearing - infrasound and tactile sound - where sound is felt rather than heard. Low frequencies created by cars and subways are contributors to the cacophony of infrasonic noise that exists deep below the rumbling of the city. These tactile sounds have also been associated with paranormal activity and ghost sightings. Kristen Roos’ audio art is informed by aspects of acoustic ecology, radio art and phonography.

audioTagger, by Eva Sjuve, will be presented at Digital Art Weeks, Zurich :: July 10-14, 2007.

audioTagger is a mobile - phone - sound - art - in - urban - space research project, or can be defined as, wireless phonography (”mobile sound writing”). audioTagger is a momentary exploration of urban space, to capture a sonic moment using mobile technology. Anybody with a data enabled mobile phone can participate and contribute to AudioTagger’s exploration of the environment, using the mobile phone as a field recorder, “phonographic tool”, ubiquitous and artistic. The mobile phone is used in this application, being the most ubiquitous tool at present, within wireless architecture; creating a seamless computing environment with the Internet. Continue reading