Listening to art. Playing with audio. Sounding out technology. Composing in code.

Monthly Archives: August 2011

Cloud on a Short Loop (MP3)

There’s a tension at the heart of “Good Evening, Ghosts,” a recent track made available for free download by Carl Ritger, who is based in Boulder, Colorado (formerly Philadelphia, Pennsylvania), and who records and performs under the name Radere. On the one hand, the piece provides a truly blissful expanse, a quavering mass that, while not without texture (it sounds at times like a microphone or speaker has purposefully peaked out), has both the glacial pacing and the soft contours of a slow-moving cloud. (The cloud comparison would have come to mind even if Ritger hadn’t paired the track with an Instagram-ified vision of the sky.)

On the other hand, there is the way that cloud-like mass proceeds. It’s heard as a brief loop of gauze, but it repeats with an urgency that’s in strict contrast with its sonic material. That contrast is what makes the track initially arresting, what provides its tension, what makes it more than another swath of ease: it is both soft as could be, and yet relentless in its trajectory. In time, the cloud wins, the edges of the loop slowly blur, but it takes nearly a quarter of an hour for that to occur — almost as much as for a cloud to cross the sky on a summer afternoon.

Track originally posted at soundcloud.com/radere. More on Radere/Ritger at falsereactions.tumblr.com and twitter.com/falsereactions.

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My Upcoming GAFFTA Talk: “Sound as Commentary”

If you’re in San Francisco this week, please consider dropping by the digital-arts organization GAFFTA on Wednesday for a 6:00pm discussion session at which I’ll be talking.

I’ll be presenting on the subject “Sound as Commentary: Recent Experiments in the Netlabel Remix Community.” It’s an overview of such Disquiet.com remix and free-culture projects as the Brian Eno / David Byrne open-source Our Lives in the Bush of Disquiet, and the group-effort sonic activism of Despite the Downturn and Lowlands: A Sigh Collective. I’ll be talking about how how sound (both music and sound art) can serve as a central component of online conversation, procedural parallels between curating and editing, and related topics.

Also speaking are musician and sound artist Roddy Schrock (fundamentallysound.org), who has contributed to two Disquiet.com remix projects, and technologist Barry Threw (barrythrew.com). The moderator is Luc Meier, who is the Interdisciplinary Programs Manager at swissnex San Francisco, “a Swiss knowledge outpost for science, education, art and innovation” (swissnexsanfrancisco.org). [Update 2011.08.03: Barry Threw wasn't able to make it, so Shane Myrbeck, composer and acoustic consultant, accepted a last-minute invitation to fill his seat.]

Gray Area Foundation for the Arts (GAFFTA) is a tremendous institution in San Francisco, dedicated to fomenting digital culture. It’s brought the work of artists such as Zimoun to town, and regularly hosts events on game development, audio synthesis, data visualization, and other such intersections of art and technology. This Wednesday’s discussion is cosponsored by GAFFTA and Eyebeam, a New York “art + technology center” with which it shares many overlaps. Schrock is Eyebeam’s Associate Director: Creative Residencies.

More on this Wednesday’s talk at gaffta.org. It’s scheduled to run from 6:00pm until 8:00pm. Cost is listed as follows: “$5 – $20 suggested donation (no one turned away for lack of funds).”

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Top 10 Searches & Posts from July 2011

Of the top 10 most popular posts on this site last month, all but two were drawn from the Downstream department of free and legal recommended downloads — that’s out of a total of 42 posts for the month, July 2011.

The non-download entries were ones that attracted a substantial amount of reader comments: (1) a list of “6 Things That Might Make the Great Soundcloud.com Even Greater” and (2) a consideration of how images and sounds are handled in copyright law, on the occasion of a legal settlement in regard to Kind of Bloop, a collection of chiptune cover versions of Miles Davis’ Kind of Blue (“Some Say, ‘Freeloader.’ Others Say, ‘So What?’”).

This leaves the seven most popular Downstream entries: (3) sounds committed on a tape loop as elegant as it is ambitious, by Jared Smyth, (4) a track off the new Kim Cascone album, The Knotted Constellation (Fourteen Rotted Coordinates), (5) a voice + processing collaboration between Prophecy Sun and Kristen Roos, who record as Spell, (6) a video (with downloadable audio) performance on the Monome by Josh Saddler, aka ioflow, (7) variations on sine waves by C. Reider, (8) manipulated field recordings by Mark Rushton, (9) ambient jazz collaboration by heu{s-k}ach (the duo of d’incise and Marcel Chagrin) and Pedro Sousa, and (10) the latest instrumental hip-hop from Hypoetical.

Among the most popular search requests were: bloop, app, ben neill, best of 2010, dj krush, downstream, early 1970s field recordings, EP, inception, ionizer, kind of bloop, klock, n4tural, outra-g, oval, pausal, privatelektro, radiophonic, reider, and twitter.com.

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White Noise, White Like Rauschenberg (MP3)

When Jason Sloan ponders minimalism alongside noise, he observes similar concerns. To some listeners, the comparisons that Sloan pursues will seem off, for isn’t noise a maximalist approach, rather than a minimalist one? Doesn’t noise blot out rather than subdue? Doesn’t it exhibit contrasts through force rather than through subtlety? Perhaps, but just as likely, in fact more than likely — for I, at least, tend to agree with Sloan — noise is simply minimalism with the volume turned up.

To investigate the concept of noise and its discontents, Sloan has begun a series of sonic art projects, each of which, he proposes, will, in his words, “recycle a particular medium’s inherent, undesirable sonic traits.” He lists among the examples radio static and digital music compression. First, though, comes the hiss of a tape cassette, which is especially timely given the cassette tape’s popular resurgence. The work, in an edition of nine, presents three quarters of an hour of tape hiss (MP3) on each side of a cassette, as pictured above and heard below, in 15-minute excerpt:

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In describing his thinking, Sloan writes, in part:

Recently, I’ve been thinking a lot about the general understanding of noise. Most people would consider it a distrubance to an otherwise desired experience. Static during a weak radio or television transmission or a child crying during a church sermon could be seen as anomalies that “ruin” the expected outcome of an otherwise desired event. Over the years we’ve attempted to purify these experiences with technologies that attempt to filter the noise from our lives

The issue almost certainly is about interruption, or what Sloan terms “disturbance.” The white noise heard here would be the rush of a river
were one in a lovely cabin in the woods, or the whir of wind were one speeding along a highway toward a vacation destination. Were the sound to suffocate the intended listening on a tape, it would indeed be noise. But on its own, as the pure content of the tape, it is minimalist, simple in concept and in execution, as white as one of the Robert Rauschenberg paintings that Sloan cites as inspiration.

Track originally posted at jasonsloan.com last month.

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