If you are a Southern California based or linked sound artist, experimental musician and/or composer, you are invited to participate in the first part of a unique sound art and music research artiject and study, conducted by Dr. Chung Shih Hoh and Marco Schindelmann that will involve the mapping of the dynamic social networks and aesthetic consciousness of Southern California artists involved in sound art and/or experimental music. The results of this study will also serve as material for a sound installation for SoundWalk 2008 (September 20th). Your participation in this project is not contingent on your submitting to or taking part in SoundWalk 2008.
A series of questions will be posted online to project participants on a blog (soundwok) and, if preferred, either through direct e-mails or in conjunction with your SoundWalk submission. The text that emerges as a result of your and other participant responses will be processed through a computer program for analysis, interpretation, and visualization so as to cull common themes, conceptual threads, foci, motifs and directed messages. In order to ensure confidentiality and anonymity, all information, collected during this part of the project, will be analyzed in aggregate. Although participant anonymity will be maintained with regard to the response-related data collected, all respondents will be recognized in connection with their participation in the project unless otherwise desired. If you choose to participate, you may withdraw at any time. Also, you may answer all questions posed or as many as you like.
After completion of this part of the study (August 8, 2008), presentations will be delivered publicly in arts and scholarly conferences, journals and arts events (e.g. SoundWalk 2008 [September 20, 2008]) that will serve, in part, to acknowledge you as part of a living community of creative beings (some of whom practice at the peripheries) as well as the ideas generated and the cultures to which you contribute, so as to bring them [community, ideas, cultures] to the attention of a greater intellectual and artistic community. If you have any questions previous to, during the course of , or subsequent to your participation in this project, do not hesitate to call (562 413 5868) or e-mail me (Marco_Schindelmann@redlands.edu).
If you wish to participate via e-mail please contact:
soundwok@yahoo.com
artistic impression of consciousness mapping snapshot
2 comments:
1.) Tinnitus, like a doorbell, commands me to open the listening doors.
There is no "how" only "because."
The tinnitus reminds me to listen.
Question Set 1
1A. What makes you listen?
Intriguing sounds; sounds that derive from, connect to, or evoke social & cultural phenomena; raw sounds related to news events; good offbeat rhythms; funny sounds & noises; anything that provokes my physiological response; sounds that are complex; sounds that are coherent & simple; sounds that are extreme in terms of frequency, power, etc; sounds created by intriguing natural, technical, and human-derived phenomena.
1B. How do you listen?
With a sense of fascination
Headphones, on couch
with friends, over tasty loudspeakers
mp3s mostly – encoded from CD at fixed 256kBps w/ low-pass@19kHz
1C. Why do you listen?
Because I’m intrigued
I like hearing the world
Sound transports me to different places, to different scales, and to imagined worlds
To be present in a manner of discovery
2. What are you listening to?
Right now I’m listening to a recording of carousel music played by an old-fashioned Wurlitzer band organ (Klavier Records)
3. What do you hear?
Texture
The ‘signified’
Context and the big-picture
Details and subcomponents
relationships
4. How does your listening relate to the other senses and to consciousness (sight, smell, touch, taste and thought)
To me, field recordings are immersive, sensual, emotional, and are potent in terms of drawing forth memories. In regards to field recordings, I relate the listening experience to the sense of smell, and, in general, to body awareness (especially in terms of localization, kinesthetics, and sense of place). Enjoyment of sound, as sound, is also appealing because of its raw ‘tickling’ of the cognitive processes – its ability to place the brain in a state of openness, unknowing, and investigation. Oftentimes, the listening experience places me in a border region between the abstract and the real. Representational sounds clearly induce complex thoughts and mental pictures, along with memory recall, etc. My favored listening mode is with my eyes closed, or with abstract visual patterns, or among friends in the outdoors.
5. What do you hear when you read, when you write?
Nothing, other than what’s present in my local environment.
www.stuartsperling.com
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