New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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

Sound Class, Week 7 of 15: Explicit vs. Implicit

Vocabulary refresher, a useful series of quadrants, breakfast cereal, OS startup sounds

20150324-class7

On the very first day of class I share this sequence:

Hearing → Listening → Discerning → Describing → Analyzing → Interpreting → Implementing →

That is, in a handful or so of words, a map of the 15-week course that I teach on the role of sound in the media landscape at the Academy of Art in San Francisco.

The first semester I taught the course, back in 2012, a student raised a hand from the back of the room and asked, in effect, if I am making up any of the words we use. I suppose hearing “anechoic” and “acoustemology,” among other less esoteric terms, over and over takes its toll, and I replied that I did not make up any of the words. I did, however, take responsibility for two familiar words used in a particular context. Those words, and that context, are the subject of week 7.

First some background on the course, in case this is the first week you’ve read one of these summaries: Each week of the 15-week course my plan is to summarize the previous class session here. Please keep in mind that three hours of lecture and discussion is roughly 25,000 words; this summary is just an outline, in this case less than 10 percent of what occurs in class. Some class meetings emphasize more discussion than others. Week 7 this semester is especially discussion-heavy, and hence the lecture outline here is fairly cursory.

I start off week 7 by reviewing recent vocabulary. When this goes well, we don’t stop with the words I initially reprise, words like “soundscape” and “soundmark,” and, yes, “anechoic” and “acoustemology.” We discuss how the first two develop out of the work of R. Murray Schafer, how the third relates to John Cage, and how the fourth comes out of the work of Steven Feld. To revisit the previous week’s class meeting, on the role of sound in retail space, we discuss Ray Oldenburg’s concept of the “Third Place.” In turn, student queries lead to additional vocabulary refreshes, among them sonic equivalents of so-called “skeuomorphism” design (the shutter sound of digital cameras serves as a good example), “haptic” feedback, and the difference between a “neologism” and a “retronym.”

Then we proceed to those two fairly common terms I mentioned up above, “explicit” and “implicit,” which we employ in a specific context. For the purposes of discussion, an “explicit” sound related to a subject is one closely tied, in the public imagination, to it, such as the “pop pop, fizz fizz” of Alka-Seltzer, or the anthropomorphized Snap, Crackle, and Pop of Rice Krispies. In contrast, “implicit” sounds are those that are to some extent inherent in a given subject, but that are not fully, for lack of a more nuanced term, branded. Different makes of door lock, for example, will sound different upon close inspection, but it would be hard to make a case that to anyone other than a discerning thief those sounds are closely associated with the locks.

We begin by drawing a grid, two by two, and we put those two words on the Y axis. On the X axis, horizontally, we write “category” and “product.” The remainder of week 7 involves working through how sounds can be oriented in those four quadrants. This plays out in various ways, largely as a result of group discussion, and thus it doesn’t translate particularly well to summary. So, I’ll just emphasize some things I’ve learned when teaching this class:

  • It’s important to keep top of mind that the quadrants in this two-by-two grid are along a continuum. Students often mistake them as four independent if interrelated categories. That’s not the case.

  • An operating system startup sound is a useful example. The startup sound itself began deep in the implicit/category zone, and was later elevated to explicit/product when Apple and Windows, just to note two examples, developed unique audio logos.

Homework: The homework for week 8 is to take another pass on the research from week 7, which involved the development of a “sonic audit.” This week in class we take time, in small groups, to compare notes about how to apply the explicit/implicit grids to the students’ chosen topics, which range from Oreo cookies to Nike sneakers to Rolex watches. The assignment is as follows: Do a “sonic audit”of a specific brand/product of your choosing.

Your brand/product should not be inherently sonic; that is, for example, it should be a candy bar, not a headphone — a clothing store, not an MP3 player — an airline, not a mobile music app. You will explore the role of sound in the brand/product that you select. (You can, alternately, elect to focus on an industry/category, such as the Got Milk? and National Pork Board campaigns.)

In the process of developing your sonic audit you should look deeply at the brand/product from numerous viewpoints, such as, but not exclusive to, the following: (a) sounds inherent in the category, (b) sounds exclusive to the brand/product, (c) cultural references (e.g., song lyrics), (d) brand history (e.g., jingles, concert sponsorships, musician spokespeople), etc. Your presentation of your findings should consist not only of exhaustive examples you locate, but of the “cultural meaning”of what you discern. How you present this material is up to you, but it should be substantial. We’ve used short essays in assignments and four-quadrant grids in class, and those are particularly recommended. In the end, the documentation should state and support a specific point of view about the sonic properties of the brand.

Next week: The software tools of sound, with an emphasis on Audacity and, just to nudge things a little, Max/MSP.

Note: I’ve tried to do these week-by-week updates of the course in the past, and I’m hopeful this time I’ll make it through all 15 weeks. Part of what held me up in the past was adding videos and documents, so this time I’m going to likely bypass that.

This first appeared in the March 24, 2015, edition of the free Disquiet “This Week in Sound”email newsletter: tinyletter.com/disquiet.

By Marc Weidenbaum

Tags: , / Comment: 1 ]

One Trackback

  • By Thinking with chalk - Austin Kleon on February 19, 2020 at 7:02 am

    […] just love looking at these markings. Weidenbaum has posted a few whiteboards on his site, but they just don’t have the same […]

Post a Comment

Your email is never published nor shared. Required fields are marked *

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

*
*

Subscribe without commenting

  • about

  • Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

  • Field Notes

    News, essays, surveillance

  • Interviews

    Conversations with musicians/artists/coders

  • Studio Journal

    Video, audio, patch notes

  • Projects

    Select collaborations and commissions

  • Subscribe



  • Current Activities

  • Upcoming
    December 13, 2021: This day marks the 25th anniversary of the founding of Disquiet.com.
    December 28, 2021: This day marks the 10th anniversary of the Instagr/am/bient compilation.
    January 6, 2021: This day marks the 10th anniversary of the start of the Disquiet Junto music community.

  • Recent
    July 28, 2021: This day marked the 500th consecutive weekly project in the Disquiet Junto music community.
    There are entries on the Disquiet Junto in the book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
    A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at oup.com.)

  • Ongoing
    The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm: disquiet.com/junto.

  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

  • disquiet junto

  • Background
    Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.

    Recent Projects

  • 0511 / Freeze Tag / The Assignment: Consider freezing (and thawing) as a metaphor for music production.
    0510 / Cold Turkey / The Assignment: Record one last track with a piece of music equipment before passing it on.
    0509 / The Long Detail / The Assignment: Create a piece of music with moments from a preexisting track.
    0508 / Germane Shepard / The Assignment: Use the Shepard tone to create a piece of music.
    0507 / In DD's Key of C / The Assignment: Make music with 10 acoustic instrument samples all in a shared key.

    Full Index
    And there is a complete list of past projects, 511 consecutive weeks to date.

  • Archives

    By month and by topic

  • [email protected]

    [email protected]

  • Downstream

    Recommended listening each weekday

  • Recent Posts