scholarly journals Projeto Sideral e a música de animismo cósmico

DAT Journal ◽  
2020 ◽  
Vol 5 (1) ◽  
pp. 88-98
Author(s):  
Reynaldo Thompson ◽  
Tirtha Mukhopadhyay
Keyword(s):  
Pauline Oliveros

O projeto Sideral foi desenvolvido pelos artistas Marcela Armas e Gilberto Esparza, como mais um acréscimo à série de esculturas eletrofônicas expostas por Esparza depois que ele recebeu o Golden Nica de 2015. Em seu esquema básico, o Concepción-Adargas, que é o título do trabalho que emana do Projeto Sideral, usa um meteorito de 3,3 toneladas, que atingiu em 1786 o estado de Chihuahua, México e agora é preservado pelo Instituto de Astronomia da Universidade Nacional Autônoma do México (UNAM). O campo magnético na superfície do meteorito é detectado e traduzido em sons que recriam as harmonias distantes de Buchla, de maneira semelhante à composição Licht de Stockhausen ou às canções contemplativas de Pauline Oliveros, por mais importantes que sejam em aspectos do som, é o companheiro de Armas e Esparza, Daniel Llermaly, que os transforma em termos semelhantes aos da música indígena Tarahumara, uma frequência semelhante conhecida pelos povos da região onde o meteorito atingiu.

scholarly journals Field Recording or Field Observation?: Audio Meets Method in Qualitative Research

2015 ◽  
Author(s):  
Sam Smiley
Keyword(s):  
Qualitative Research ◽  
Field Observation ◽  
Art Music ◽  
Social Setting ◽  
Field Observations ◽  
Field Recordings ◽  
Field Recording ◽  
Clifford Geertz ◽  
Preliminary Research ◽  
Pauline Oliveros

The field observation, an ethnographic practice of collecting data and information about a given social setting and situation is often used in preliminary research to have an understanding of the community one is researching. However, from an artist/musician's perspective, the field observation has many commonalities with techniques used in audio field recording. How can field recording be used in parallel with field observations to explore and understand a community through art? This essay will begin with a comparison of field observations and field recordings as methods in their own disciplines, and continue with the concept of “attention” in art, music, science and anthropology. It will follow and conclude with a project that looks at combining qualitative research and art to explore a community of gardeners through recorded interviews and sounds. The work of Pauline Oliveros, Walter S. Gershon, Clifford Geertz, Anne McCrary Sullivan, and Steven Feld will be important in making the connections across disciplines.

scholarly journals Pauline Oliveros at ICMC Re-Visited: Technology and the Self

2020 ◽  
pp. 15-19
Author(s):  
Maria Chavez ◽  
Seth Cluett
Keyword(s):  
The Self ◽  
Pauline Oliveros

scholarly journals Åčçëñtß

2020 ◽  
pp. 36-48
Author(s):  
Richy Carey
Keyword(s):  
Collective Identities ◽  
Community Groups ◽  
Concert Halls ◽  
To Come ◽  
The Individual ◽  
The City ◽  
Deep Listening ◽  
Pauline Oliveros

In 2018 I was appointed to the position of Glasgow’s first UNESCO City of Music artist-in-residence. Over the course of a year I worked with numerous community groups and choirs across the city to collaboratively devise and realise a new choral/film work, titled Åčçëñtß, which was performed by an audience of over three hundred and fifty people at its premiere at the Glasgow Royal Concert Halls in 2019. Åčçëñtß explores accents as a sonorous social matter – staccatos and lilts, patterns of difference in our voices, as sonic markers of place and community – sounds that I have come to understand as resonating between our individual and collective identities. This paper presents some of the thoery orientating my compositional praxis, speaking nearby a reflective account of some of the compositional considerations and processes undertaken through the project. Through it I explore Karen Barad’s methodology of diffractive thought, Trinh T. Minh-ha’s notion of speaking nearby within the interval, Pauline Oliveros’ practice of Deep Listening, thinking towards how these might meet through my praxis to come close to Timothy Corrigan’s Refractive Cinema. Åčçëñtß speaks to the complexity of authorship and agency in distributed, collaborative composition and the motive relationships between sound and image, spectacle and spectator – between the individual and the communal.

scholarly journals Gender, Genre and Electroacoustic Soundmaking Practices

2012 ◽  
Vol 26 (2) ◽  
pp. 20-48 ◽  
Author(s):  
Andra McCartney
Keyword(s):  
Pierre Boulez ◽  
Project Analysis ◽  
Compositional Control ◽  
Musique Concrete ◽  
Pauline Oliveros

This article is an exploration of how genres and practices of electroacoustic soundmaking are gendered, examining processes of gendering in language used in the early dichotomous categorization betweenmusique concrèteandelektronische Musik,then thinking about related arguments concerning abstraction, context, and compositional control in the writings of electroacoustic soundmakers including Pierre Schaeffer, Pierre Boulez, Daphne Oram, Pauline Oliveros, and several participants of the In and Out of the Sound Studio project. Analysis of their practices and ideas suggests different ways of conceptualising electroacoustic genres, their related practices, and roles of contemporary electroacoustic soundmakers (composers, artists, producers, mixers, audiences...), by examining the potentials of the concepts ofempathetic knowledgeandecologicalthinkingadvanced by feminist epistemologist Lorraine Code.

scholarly journals Safe To Play

2018 ◽  
Vol 12 (1) ◽  
Author(s):  
Pauline Oliveros
Keyword(s):  
Child Protection ◽  
Keynote Address ◽  
Video Documentation ◽  
Queen's University ◽  
Pauline Oliveros

Pauline Oliveros’ keynote address entitled “Safe to Play” was given at the “Just Improvisation: Enriching child protection law through musical techniques, discourses and pedagogies” Symposium, Queen’s University Belfast, 29 – 30 May 2015. For video documentation of the keynote, see http://translatingimprovisation.com/portfolio/symposium.

scholarly journals Suspending the Habit Body through Immersive Resonance:Hesitation and Constitutive Duet in Jen Reimer and Max Stein’s Site-Specific Improvisation

2018 ◽  
Vol 12 (2) ◽  
Author(s):  
Rachel Elliott
Keyword(s):  
Experimental Music ◽  
Theory And Practice ◽  
Site Specific ◽  
Sensory Motor ◽  
Musical Event ◽  
Motor Conditioning ◽  
Pauline Oliveros

There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. The argument made interpreting these performances is grounded in Maurice Merleau-Ponty’s phenomenology of embodiment, and Alia Al-Saji’s reception of it. This paper claims that such site-specific improvised performances can elicit a sort of hesitation in our everyday style of sensory-motor conditioning, and, concomitantly, awaken a layer of sensory living amenable to radically new sonic and behavioural configurations.

Sign in / Sign up

Export Citation Format

Share Document