Now that DD Day 2014, our touring events and education pilot work are complete, it remains for us to thank everyone who has made this another successful and inspiring venture.
DD Day 2014 image by Andrea Pazos
All the venues for being so helpful and hard-working; the audiences for being so supportive and being open to absording 3 hour’s worth of Delia-n delights including some pretty radical cross music genre programming; to photographers, journalists and radio/TV stations; to Arts Council England for subsidising our work; One Education and John Rylands here in MCR for helping make the education pilot project happen; the schools’ staff and pupils who were inspired by Delia and were also inspiring in turn with the animated TV themes they composed; the Delia Darlings team on the road and in MCR.
The Consequences of Falling – photo by Sam Huddleston
Welcome back to Hearing the UnHeard, Sounding Out‘s series on how the unheard world affects us, which started out with my post on the hearing ranges of animals, and now continues with this exciting piece by China Blue.
From recording the top of the Eiffel Tower to the depths of the rising waters around Venice, from building fields of robotic crickets in Tokyo to lofting 3D printed ears with binaural mics in a weather balloon, China Blue is as much an acoustic explorer as a sound artist. While she makes her works publicly accessible, shown in museums and galleries around the world, she searches for inspiration in acoustically inaccessible sources, sometimes turning sensory possibilities on their head and sonifying the visual or reformatting sounds to make the inaudible audible.
In this installment of Hearing the UnHeard, China Blue talks about cataclysmic sounds we might not survive…
We recently posted our 1,500th post. Next February will mark the start of our third year. We’re close to reaching 5,000 followers on Twitter and 2,500 on Facebook. For a little blog that emphasizes content over design, that still believes in reading and criticism, and largely eschews self-promotion… well, these all seem like great milestones. Part of what has always been special about ACL is the community that has supported us and grown up around us. I’ve heard from a great many of you thanking us not only for introducing you to great music but also for make direct connections between you.
In order to foster more community engagement and collective spirit, I’m calling for 10 second sound fragments which will be edited together into a community sound collage. Anything goes: music samples, field-recordings, loops, radio static, sine tones, whatever. Just send a 10 second MP3 or WAV (or…
Electronic composer Eliane Radigue has created lovely, meditative works based on Tibetan Buddhism using tape and an Arp synthesizer. After studying electro-acoustic music under Pierre Henry and Pierre Schaeffer in the late ’50s, the Parisian learned to play the piano and harp and delved into classical music. She spent one year (1967-68) as Pierre Henry’s assistant, one (1970-71) at New York University, then spent some time in residency at universities including California Institute of the Arts in the early ’70s. By this time, Radigue was making her music with tape and an Arp synthesizer. After converting to Tibetan Buddhism in 1975, she took a four-year hiatus from music. The French composer’s works have since included compositions for ballet and commissioned works on the life of Milarepa, an influential Tibetan poet and saint.
From August 12th until September 11th, Kunsthaus Meinblau in Berlin shows A Long Day, an installation developed by Latvian artist Evelina Deicmane during a project residency for the Resonance project. Earlier this year, while I was in Berlin performing and recording with the Dutch-French electroacoustic alliance Diktat, I met Evelina at the Kunstlerhaus Bethanien in the Kottbusser Straße. There she had just finished another Berlin residency, which also had given rise to an installation, then at view at the Kunstlerhaus Bethanien Exhibition space: Burt Nieks (The flying lake looked down upon the village).
‘Burt’ means to bewitch, or to enchant. And ‘nieks’ stands for easy, effortless. It is a split up into two parts of Burtnieks, the name of a lake near the Latvian village where, in 1978, Evelina Deicmane was born, and which plays an important role in Latvian mythology and folklore. Like Burt Nieks…
Editor’s Note: Welcome to Sounding Out!‘s fall series titled “Sound and Play,” where we ask how sound studies, as a discipline, can help us to think through several canonical perspectives on play. While Johan Huizinga had once argued that play is the primeval foundation from which all culture has sprung, it is important to ask where sound fits into this construction of culture; does it too have the potential to liberate or re-entrench our social worlds? SO!’s regular contributor Maile Colbert interviews sound artist Andrea Parkins and gets her to talk about her creative process, and the experience of playing with sound, composition, and instruments.–AT
In 2003, working towards my graduate degree in Integrated Media at California Institute for the Arts, I met and worked with a visiting artist by the name of Andrea Parkins, with whom I became a friend and colleague. Although I’ve been familiar with…
Reflecting on Whale, an interactive, multichannel sound installation, this sound art piece documents how the installation came about. When designing Whale, Sonia Li used sound to communicate the often visceral emotions underlying her personal narrative.
Whale creates an environment where one experiences oneself. By laying in darkness on a subsonic vibrating bed, users openly confess their thoughts and feelings into a sonic field, which then translates their words into correlating amplitudes of whale sounds. This process of transduction prompts listeners to consider how sound works to shape a perception of themselves as they hear a distant and alien rendering of their own voice. By experiencing Whale we can consider how sound challenges our physiological and psychological perceptions of self.