Sounds: Ordinarily Unheard

July 7, 2015 § Leave a comment

 
Ordinarily Unheard: An Evening of Performed Sound

Thursday, July 16, 7-9pm
Calico Gallery, 67 West St. #203, Brooklyn, NY 11222
FB Event Invite

Sal Randolph, David B. Smith, and Audra Wolowiec will each present a performed sound work integral to their broader practices, which include visual, textual, and sculptural projects dealing with themes such as language, imagination, and memory.

Sal Randolph Airport Scores for Drift

These Airport Scores are part of an experimental novel, Drift, being written on Twitter and other social media, with elements distributed in real space and on the web. They are “ambience scores,” transcriptions into language of the ordinarily unheard sounds of place; from this alphabetically rendered sound composition, places may then be performed in voice or imagination.
David B. Smith Forgetting Your Name (extended version)

Smith will lead a participatory ceremony where members of the audience are invited to speak a name of their choice as raw material for an electronic sound composition. The composition will unfold organically and unexpectedly and will waver between found sound and music, and between evolution and deterioration. The words the audience speaks will, like memories, fade in and out of legibility, repeating and building, yet obscuring and changing original meanings and intentions.
Audra Wolowiec  (         )

(         ) is a language based short film with two slide projectors and sound components. Held by punctuation, signals from two lighthouses begin to flash across the screen, communicating through fragments. As the sound of breaths continue to locate each other, waves allude that geometry is of no use to calculate a proximity that is felt. This work was first performed at the Poetry Project at St. Marks Church, Jan 2015.

Sounds: The Great Molasses Flood

July 6, 2015 § Leave a comment

 
A description of the sounds of the Great Molasses Flood of 1919

“Witnesses reported, variously, that as it collapsed, they felt the ground shake and heard a roar, a long rumble similar to the passing of an elevated train, a tremendous crashing, a deep growling, or a thunderclap-like bang! and, as the rivets shot out of the tank, a machine-gun-like rat-tat-tat sound.”

Lists: There are 6 Families of Noises

January 15, 2012 § Leave a comment

of the Futurist Orchestra.

1.

Rumbles
Roars
Explosions
Crashes
Splashes
Booms

2.

Whistles
Hisses
Snorts

3.

Whispers
Murmurs
Mumbles
Grumbles
Gurgles

4.

Screeches
Creaks
Rumbles
Buzzes
Crackles
Scrapes

5.

Noises obtained by percussion on metal, wood, skin, stone, terracotta, etc.

6.

Voices of animals and men:
Shouts
Screams
Groans
Shrieks
Howls
Laughs
Weezes
Sobs

 

From Luigi Russolo’s 1913 manifesto The Art of Noises.

Sound: Schematic as Score (Uses of Failure)

May 8, 2011 § Leave a comment

Derek Holzer,

on (among other things) failure & experiment, in Vague Terrain:

Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology

[image: David Tudor’s “Self-Playing Performance Patch for Untitled (Homage to Toshi Ichiyanagi) (1972)]

“I consider it axiomatic that, for any art work to be considered experimental, the possibility of failure must be built into its process. I am not referring to the aestheticized, satisfying glitches and crackles valorized by Kim Cascone, but to the lack of satisfaction produced by a misguided or misstepped procedure in the experiment, whether colossal or banal. These are not errors to be sought out, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassments that would trouble the sleep of all but the most Zen of musicians or composers.

The presence of failure in a musical system represents feedback in the negative, a tipping point into anti-climax, irrelevance, the commonplace, the cliche or even unintended silence. Many artists try to factor out true, catastrophic failure by scripting, scoring, sequencing or programming their work into as many predictable, risk-free quanta as possible ahead of time. (Spacebar, please.) But this unwelcome presence also guarantees the vitality of that hotly-contested territory – the live electronic music performance.”

See also Derek Holtzer’s site.

primiti too taa

May 1, 2011 § Leave a comment

primiti too taa

Words Commonly Used to Describe Sounds

April 16, 2011 § 5 Comments

Via

Audra Wolowiec’s beautiful blog Lineforms.

bang, bark, beep, bellow, blare, blast, bleat, bong, boom, bray, buzz, cackle, cheep, chime, clack, clank, clap, clatter, clink, cluck, clunk, crack, crackle, crash, creak, dingdong, drop, drumming, fizz, glug, gnashing, gobble, grating, growl, grumble, gurgle, hiss, hoot, howl, hum, jingle, jangle, kachink, knock, mew, moan, mod, murmur, neigh, patter, peal, peep, pop, power, pounding, pulsing, purr, put-put, rap, rat-a-tat, rattle, ring, rippling, roar, rumble, rushing, rustle, scream, scrunch, shriek, sizzle, slam, snap, snarl, snort, splash, sputter, squawk, squeal, squish, stamp, swish, swoosh, tap, tattoo, tearing, throb, thud, thump, thunder, tick, tick-tock, tinkle, toot, trill, twang, twitter, wail, wheeze, whine, whir, whisper, yap, yelp, zap

See also: Words Commonly Used to Describe Smells

From the Handbook of Noise Measurement by Arnold P. G. Peterson, General Radio Company 1972:

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