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Contemporary Issues In Sound Art Second Year

Noise Music – Meditative effects:

Examples of noise have been used for years within the avant guard sonic community. From John Cage’s ‘Oceans of Sound’ to Florian Hecker’s ‘Event Stream Objective’ reverberation has formed its genre of sonic auditory sound. Our ability to perceive sound is significantly influenced by noise music and reverberation. Noise music can provoke strong emotions and change our mood due to its rough and chaotic noises. Some listeners may feel uneasy or uncomfortable as a result, while others may find it freeing and energising.

On the other hand, reverb is the continuation of sound in space after the sound source has ended, which can improve the quality of music and speech by giving the sound more depth and richness. Additionally, it might provide the impression that the listener is immersed in the sound and space.

I believe Noise music can become meditative and create an extreme amount of emotional auditory space for people to reflect. For this reason, I chose to work with reverberation within sound for some screen work I have recently been working on. I felt this emotional room within the sonic would allow a place for the viewer to connect stronger towards what is happening on screen.

Overall, reverberations meditative characteristics worked extremely well with my sound for screen and I will continue to use this in future work.

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Contemporary Issues In Sound Art Second Year

Claiming Identity – The Power It Holds Auditory

As I listened to Samson Young speak about his form of storytelling and identity through his work, I later researched further into his piece ‘Nocturne’. The effect this sound installation held on the audience; creating a pathway of exploring old fallen soldiers from WW1 and a reflective soundscape, influenced me heavily.

The power of storytelling within the sound is a beautiful thing that explores the theory of deeper listening beyond the sound itself and the attached context within the sonic practice you hear. In my opinion, this forms a telling dynamic with the audience beyond the auditory; leaving room for empathy, sympathy and understanding. It gives a platform for the listener to connect further into a sound installation and see glance through the artist’s vision.

In the past, my work, I have touched upon identity and storytelling in sound installation previously. I chose to interview a series of people on portobello road discussing their purity stories and chosen music genre when growing up. Having insight into someone else’s life shapes a piece emotionally differently when not used. Despite this success, I have reflected on Young’s lecture and my previous work and contemplated the idea that I have never included anything about my own identity within my work. As an artist, I have always been driven towards the storytelling of others and lacked any self-reflection. Taking this I have decided to begin including a sense of identity with my future work. This way it will allow listeners to form a bond with me as an artist and hopefully clarify the context better than it did before.

This is a section taken from my previous sound exhibition showing Identity.

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Contemporary Issues In Sound Art Second Year

Sonic Environmental Practice – Results of Climate Change:

As our environment continues to diminish around us; as artists we are beginning to notice its beauty more than we did before. We understand the possibility of not having natural beauty around us in the future. One of the ways our climate is changing is through natural soundscapes. Natural habitats are being destroyed and replaced with manmade surroundings. Sound Artists Chris Watson and Jana Winderson are two artists who incorporate field recordings centred around endangered habitats and specifies. They use these sonic sounds to document the changes in our environment and risk towards habitats. Another example of sound artists using our environment is Francisco López and Robert Curgenven who study the way humans react within certain environments and with each other. Their works combine sounds from both urban and rural settings to create acoustic landscapes that emphasise how humans affect the natural world. By doing this, they inspire listeners to reflect more deeply on their relationship with the environment and to take into account how their actions may affect the environment. Within my future work, I hope to take these influences and embody sounds taken from the environment within my sound piece. As an artist, I get so focussed on creating foley and sounds created within a studio or artificially. It is vital to listen to what we have around us without human interference and record the beauty from its core.

Jana Winderen – Recording the World

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Contemporary Issues In Sound Art Second Year

Gatekeeping of Art – Fluxus Influence 

The art world is notoriously known for holding a self-acclaimed hierarchy. Its pretentious views have often stunted others from creating artistic work due to financial assumptions, classism, sexism, and racism. Within the education and historical sonic teaching nearly all noted musicians are often white Western men (Beethoven, Mozart, Debussy). Collectively, as a society, women and other minority composers are regularly not recognised. The Feminist artistic activists – ‘Guerrilla Girls’ state in their art “(hip’ o-crit) An art collector who buys white male art at benefits for liberal causes, but never buys art by women or artists of colour”. Society has developed sexist assumptions about the artwork they buy, create and observe. This gatekeeping mentality is stunting the influence of new art; instead encouraging a cycle of assumptions of how we think art should look.

After the rise of Fluxus artwork in the 1960s it began to influence new artists. The goal of the Fluxus art movement was to subvert conventional ideas of art and end the elitism that was frequently connected to the art industry. In this way, Fluxus artists aimed to dismantle barriers between social classes and produce a democratic and open form of art. Examples like Yoko Ono’s 1965 ‘Cut Piece’ showed the cutting segments of her hair and clothes on stage during a live performance. This type of artwork showed a sense of accessibility towards the public eye. Anyone could create!

Overall, Fluxus began to break down the boundaries and gatekeeping the art world holds upon the outside world. It was an invitation for minorities and under privilege members of society to perform and invent new styles of work. Anyone can create and with enough context, anything can be art. We must look and listen beyond the “norm” of Western assumptions and gatekept artworkhttps://www.youtube.com/watch?v=zbQBD06N0Hs

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Contemporary Issues In Sound Art Second Year

How Global Change Encourages New Forms Of Sonic Practices:

Today’s civilisations are hyper-aware of the crisis we find ourselves in environmentally. Global warming rates are at the point of emergency; as a result, most of society is choosing to change their daily practice, including artists! Issues behind waste consumption are encouraging artists to change/be more aware of the materials they use. Makoto Oshiro is a Berlin – Tokyo-based performer and artist. He focuses his live work on vibration and interference; more often using recycled everyday materials and attaching them to motors or moving devices in order to sound. Working alongside his performance group ‘The Great △(夏の大△)’ their sonic work makes the simple- effective! Oshiro’s performance work could often be considered sculpture-based artwork; creating huge spectrums of sonic machinery from recycled materials. Aware of the fragility of materials, many artists are beginning to blend their practices. There has become a sense of efficiency and frugality within the sound art world; now we know about the delicacy of sustainability of objects. Oshiro’s work is a great example of how he merges more than one medium of artwork; making recycled junk the primary core of the creative process. I believe artists are beginning to create art with an echo wary conscience. Whereas before artists would focus their production process on sound; making it the primary source- searching for materials specifically suitable towards their sonic needs. This would encourage the overproduction of new materials. However, nowadays artists are looking beyond mass consumption and assessing materials before they chose to create sound. This slows down the rate of production and the creation of extra material in the world and ultimately becomes a more efficient and green way of creative thinking and doing.

Categories
Sound and Aural Cultures

The Concept of Archiving:

The National Library began archiving sound in 1983. With recordings stretching back to 1878 old recording from a concert on an Edison phonograph. It’s remarkable to think that we can hear a sound that was produced in the 1800s and it is thanks to historians and archivists like The National Library that we can learn so much today.

Archiving of course tells us about historical events all the way down to societal habits through voice records and music. However, despite the historical significance it enables us to hold onto personal and intimate parts of history. 

Archives allow us to learn and reflect on ways technology has developed and the ethical morality behind the way we record. We can see what was efficient and what was not to advance new technology and methods. 

As I move forward within my own work I reflected upon the importance of archiving and realised that I felt that my own work became its own archive. When interviewing my grandma I realised that like everyone she won’t be with us forever. This gave me such a close connection towards what I was recording; allowing me extra purpose to get it truthful and correct. I began with draft recordings of normal conversations beginning with the date and time of where we were recording. Stating the date and time made my sound piece feel like a part of a time capsule.

Overall archiving will forever be important and it is critical that with developments in technology these habits of recording the past do not stop. I will take my piece forward with a sense of achievement towards archiving work, and I will keep and cherish this forever.

Categories
Sound and Aural Cultures

Script Proposal:

‘A Very British Garden’

Composed by Eleanor Anderson 

——————————————————————————————

Instructions for listening:

  • Lay in a dark and silent room alone – ensuring no outside noise can bleed into the room
  • Try to use the best monitors or headphones you can 
  • Take into consideration the importance of surrounded sounds and what the world would be without the

——————————————————————————————

1.(A series of soundscapes from different environments)

Eleanor:   

Noise.

It’s everywhere.

As human beings in the modern world, we are constantly surrounded by noise. From the hustle and bustle of a city. 

2.(City soundscapes)

To the calm serenity of nature…

3.(Nature sounds)

Our surrounding sounds are naturally inescapable. Kids Frontiers explains that 

4.(Voice sound effects) 

“No matter how hard we try, we will never find a place that is completely silent. If something moves, it produces a sound—even if humans cannot hear it. 

5.(Various selection of sounds linked to the script)

Sounds are everywhere, all around us. The sounds we usually notice are produced by people or by things that people use. Think about road traffic or industries, for instance. Yet, nature can be very loud too!”

I want to research whether with new developments of technology and the changing of society’s habits, this is entirely true, and whether or not we should be appreciating what we have instead of choosing to 

6.(Sound effects on voice)

block it all out. 

Generally, we don’t value background noise as something “good”, and more often than not we see it as something bad. Humans love to complain about our surroundings and wish to block the noise out. (Beat)

With the new development of 

7.(Muffled EQ sound effect on voice)

noise cancellation our society is beginning to choose silence over noise. 

8.(Artificial sounds over the voice)

Sonically we are creating an artificial bubble. 

I found this fascinating and wondered why we hate the sonic atmospheres around us so much. 

9.(Synth sounds)

In reflection to this I chose to interview somebody who has had this choice taken away from them. My grandma. She began losing her hearing in 2016…

10.(Transition noise- General chatter about surroundings and garden noises)

Grandma:

What do I hear? I don’t know! It’s just nice to hear… The trickle of the water running down the waterfall. On the whole quiet but as I pointed out we haven’t got the peaceful surroundings around my home that we used to have…

11.(Back to general garden chatter)

Eleanor:

As time and technology have developed she has been able to afford a hearing aid to help her with general hearing in day-to-day life. However, without this, the world around her would feel something similar to the way we hear when we use 

12.(white noise synth sound and voice effects)

noise cancellation.

I asked her a series of questions about how she values the surroundings and what not being able to hear noise means to her.

Grandma:

13.(Garden soundscape sounds)

Familiar sounds are a fundamental part of feeling secure. Sonically we depend on our day-to-day sounds to acknowledge that you’re in mundane, yet safe surroundings; where you want to be, where you feel protected. 

14.(Background sounds with reverberation)

When the Cochlea becomes damaged, sounds sent to the brain are lost. It creates frustration and an unsettling feeling to any of its victims. When familiar sounds are taken away it can be anxiety-inducing. 

15.(Garden soundscape)

As if you’re picked up and placed somewhere completely new. One relies on surrounding noises and ambience for settlement and insight into regularity. Atmospherics are just as important as conversational sounds. Until they are lost, they are often unheard or missed by the brain.   

Eleanor:

It was refreshing to hear someone speak about sounds around us in a positive way. 

16.(Crowd noises, and surrounding sounds)

This made me realise people aren’t appreciating noise enough. Our sonic environment builds an atmosphere and tells us more about our surroundings than we realise. Where many people who suffer with hearing loss find this isolating many people who do not suffer from this strive to silence out the world for relaxation. 

In Andrew Hugill’s 2022 book ‘Aural Diversity’ he states he did a performance with people who were sonically disadvantaged and explained that….

17.(Voice sound effects)

“Many deafblind people face barriers to participation in mainstream activities… however sound became a conduit for connectivity that allowed participants, staff, and audiences to interact without the pressure of communication barriers”.

18.(Transition sound) 

Andrew talks about the connection in sound has upon people’s relationships. He highlights how noise and sound can be connective for humans. 

19.(Muffled crowd noises – then it cuts out)

Not only do we silence ourselves through noise cancellation, but we have also begun doing this architecturally. In a recent study by AQSO an interdisciplinary studio dedicated to contemporary architecture, design, urban planning & cultural research. They research soundproof planning and said that…

20.(Voice sound effects)

21.(Sound effects showing sound being absorbed)

“Loud levels of noise pollution can cause sleep disturbances, broken concentration, high stress, anxiety and even hypertension… Sound absorption is used to contain the echoes and reverberations of the sound. This strategy provides adequate indoor comfort conditions and helps also reduce external noise pollution. Materials such as fabrics, porous suspended ceilings, micro-perforated panels or soundboards are efficient ways to soundproof interiors.”

Eleanor:

Even architecturally we are slowly chasing to isolate ourselves sonically. This juxtaposes Andrew Hugill’s research which dictates the possibilities in which sound brings us together. However, studies by Karla Panuszka further this argument and explain that

22.(Voice sound effect)

“Music shows a positive effect on relationships by providing a person’s mental attitude with a happy euphoria.”

23..(water sound effects)

“Natural sounds of waterfalls, streams, and rivers also show an improved mood that enhances relationships in a positive way.”

Despite the positive effects that noise can have we are also aware of the negatives mentally. Is it just about balance? Or is it always something that should be taken into consideration. Despite my grandma’s struggles with hearing loss she still states that she needs silence to get by.

24.(garden soundscape)

Grandma:

“Well I think at certain parts of the day I would like a couple hours of absolute peace and i can get that in the house, double glazed that keeps the noise out. But I wouldn’t want to live in isolation no. But this last year it’s been horrendous we don’t have the peace in the garden that we used to because there’s a big building estate going on the opposite side of the road and we’ve had noise all year!.

Eleanor:

So it is appreciated that noise can be a burden and annoyance. However, despite certain noise being unwanted is noise cancellation still stopping us from appreciating the noise that surrounds us or are we just lucky to have the choice to choose silence. DHRME the study YouTube channel talk about the effects that sound can actually have on our physical health and the benefits of noise cancellation and what it can bring. 

Youtube Video:

25.(Transition sound)

1.YouTube Video Interview 

“Noise is actually associated with some health issues. Like cardiovascular conditions and even an increase in stress. Right! And noise-cancelling headphones might actually help because you end up listening to music at much lower volumes than you otherwise would.”

26.(Transition sound backwards)

Eleanor:

These are all effects that noise has on us in our day-to-day lives. I wanted to delve deeper and see how people were using noise and sonic environments artistically. Christine Sun Kim is a deaf sound artist who explores everyday sounds across city centres.

Christine Sun Kim:

2. Christine Sun Kim Interview

“Sound is something that I look at as a tool and I use this tool to work the system. But sound has also given me a way to kind of declare my position, my space, my way to a member of society… 

27.(Reverb transition)

and I was lucky when MIF (Manchester International Festival) reached out to me and asked me if I wanted to do something. I thought well I’m just gonna go for a moonshine. I want to caption the whole city and they said “absolutely, let’s do it!”.

28.(Synth noises edited taken from the YouTube video)

Eleanor:

As my research commenced it came as a realisation to me that people who have had the choice to listen taken away from them are the ones that are generally appreciating sound. 

29.(General noise) 

Overall to hear noise and sound is a built-in instinct. I personally believe that by slowly blocking this out, we as a society are beginning to isolate ourselves from the rest of the world. It is a novelty that the likes of noise cancellation can be turned

30.(Muffled voice effect)

 on and off but we must learn to appreciate our surrounding sounds and see them as experiences rather than hindrances.

31.(voice echo)

 I will ensure that I go into my future daily life and listen with gratitude. 

32.(Synth sounds)

After all, the sound is everywhere and no matter how much technology advances naturally we can’t escape it. Sound is there to be listened to and heard, to tell us how to feel and what to feel. To make us feel safe and at home.

On that note, I want to take you back to listen to my grandmas ‘very British garden’…

33.(Garden soundscape)

THE END

——————————————————————————————

Listen to Artistic Sound Choices:

1.) (A series of soundscapes from different environments)

2.) (City soundscapes)

3.) (Nature sounds)

4.) (Voice sound effects)

5.) (Various selections of sounds linked to the script)

6.) (Sound effects on voice)

7.) (Muffled EQ sound effect on voice)

8.) (Artificial sounds over the voice)

9.) (Synth sounds)

10.) (Transition noise- General chatter about surroundings and garden noises)

11.) (Back to general garden chatter)

12.) (white noise synth sound and voice effects)

13.) (Garden soundscape sounds)

14.) (Background sounds with reverberation)

15.) (Garden soundscape)

16.) (Crowd noises, and surrounding sounds)

17.) (Voice sound effects)

18.) (Transition sound)

19.) (Muffled crowd noises – then it cuts out)

20.) (Voice sound effects)

21.) (Sound effects showing sound being absorbed)

22.) (Voice sound effect)

23.) (water sound effects)

24.) (garden soundscape)

25.) (Transition sound)

26.) (Transition sound backwards)

27.) (Reverb transition)

28.) (Synth noises edited and taken from the YouTube video)

29.) (General noise)

30.) (Muffled voice effect)

31.) (voice echo)

32.) (Synth sounds)

——————————————————————————————

Listed Sampled Sounds:

1.) YouTube Video Interview

2.) Christine Sun Kim Interview

——————————————————————————————————

Research Bibliography:

Ucl (2022) Deaf awareness: Working and communicating well with deaf people (online course), UCL Ear Institute. UCL Ear Institute. Available at: https://www.ucl.ac.uk/short-courses/search-courses/deaf-awareness-working-and-communicating-well-deaf-people-online-course (Accessed: November 28, 2022). 

Authors Mark D. Fletcher et al. (no date) Hear and there: Sounds from everywhere!, Frontiers for Young Minds. Kids Frontiers. Available at: https://kids.frontiersin.org/articles/10.3389/frym.2018.00063 (Accessed: November 28, 2022). 

Panuszka, K. (no date) The Journal of the Acoustical Society of America – Researchgate, Research Gate. Acoustical Society of America. Available at: https://www.researchgate.net/journal/The-Journal-of-the-Acoustical-Society-of-America-0001-4966/2 (Accessed: November 28, 2022). 

DHRM (2019) Is noise cancelling safe? the dangers of active noise cancelling explained | DHRME #68, YouTube. YouTube. Available at: https://www.youtube.com/watch?v=EfLs9XZIi2g (Accessed: November 28, 2022). 

Aqso, A.U. (2018) Architecture against noise, AQSO. AQSO. Available at: https://aqso.net/office/news/6650/architecture-against-noise (Accessed: November 28, 2022). 

International, F. (no date) Captioning the city, MIF t/a Factory International. Available at: https://factoryinternational.org/whats-on/captioning-the-city/ (Accessed: November 28, 2022). 

Categories
Sound and Aural Cultures

Aural Cultures: Podcast

I chose the podcast ‘Bad Vibrations’ – Sound Matters. Themes that stood out to me in this was the constant running soundscape in the background to the information given it reflected what was happening audibly and added extra value to the topic they were talking about. The podcast goes on to talk about how sound and music can affect humans physically. This is a root I 100% want to explore within my piece. I agreed with their ideas of sound affecting us mentally and I truly want to use this theme as the basis and my topics. As the podcast continues their references to similar reports added great effect in supporting their topic. Foley sounds were added on top of these stories almost to create a more realistic and immersive response. This worked extremely well as it turned information almost into storytelling; something I would definitely like to experiment with. Finally, the technique of a narrative speaker throughout also worked well. The narrative of the speaker switched from a more clear-cut voice to what sounded like an external voice giving different information. Soundscapes were put over the top of the outside narrator’s voice to create the secondary effect. Within my piece I will ensure that the information projected by me will be clear and recorded in a silent environment with just isolated vocals; in contrast to the other speaker’s vocals which will give an outside point of view.

https://podcasts.apple.com/gb/podcast/27-bad-vibrations/id1073135021?i=1000460529907

Categories
Sound and Aural Cultures

Short Introduction:

I will Begin with a brief question “imagining a world with no language”. The purpose of my piece is to provoke internal thinking on whether language is more important than surrounding sounds. I will be narrating information on the importance of our surrounding sounds and how it affects us mentally and physically. Throughout the entire piece, it will be entirely set in my Grandmothers garden. Surrounded sounds taken from the garden will create a woven collage soundscape. Following this piece I will play answer questions by my grandma on her experiences in the garden sonically and how it has changed/affected her through the years. This will then go into her speech about going deaf and familiar sounds. I will play around with soundscapes to create different POVs of sonically different abilities. My intentions are to immerse the listener into the point of view of a victim who is losing the ability to hear; in order to provoke a reflective emotional response. I hope to touch and reach out to people who have generally good health hearing and to make them ask themselves whether they value speech or surrounding sounds to connect themselves to the world. 

I am aware when doing this that I have to be extremely respectful to the audience I am reaching and the people who suffer from the issues I am talking about. In order of achieving this, I know that I have to be as truthful as possible in my work and the way in which I chose to edit.

Overall I hope to portray a great message about how we appreciate listening in a respectful yet meaningful way.

Categories
Sound and Aural Cultures

Foley Recording:

I created a list of foley sounds which I hope to include within my piece of work. The basis for my work is to paint an immersive soundscape set inside a British garden. With my grandmother as the protagonist; the garden is her safe haven and place for comfort. Sounds I created included gravel and soil being dug up as if in a greenhouse planting pots. Walking noises, footsteps, and hose pipes foley sounds have all been created to build and layer my garden soundscape. I will not include music within my piece as I want the entire thought process to be The proposal and information of my piece is about how soundscapes affect us and how powerful they are. With the foley sounds made and my soundscape finished I hope to make this as immersive as possible. My aim is to reach people and make them reflect on how they value their ability to hear and the importance of the sounds that surround us. 

The sounds were eventually layered together to create an artificial soundscape. However, to try and produce the most authentic sound possible I decided to take a field recorder to the set location. I avoided using studios as much as possible when recording this piece as I felt that this could only bring an artificial tone. The authenticity of being in a location made my soundscape more plausible while also inspiring me sonically with different natural surrounding noises.

In the end, I thoroughly enjoyed sampling my own sounds by using a Zoom H5 Digital. Equipment wise this was a lot easier to handle but also it brought a sense of truth to my piece as if I was delving into people’s lives and environments.